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宋代以前诸多诗人的创作使潇湘地区具有了丰厚的历史文化积淀,它深深地浸润到绘画领域。宋代以后不同画家的众多“潇湘八景”画卷又恰好诞生于中国以绘画为主体的内在精神写意的转型进程中,因而蕴含着比前代绘画更为丰厚的人文内涵,也更多元地承载了画家们的感性体验和理性思考,“潇湘八景”才成为中国乃至海外经久不衰的大画题。牧溪的《潇湘八景图》流入日本后,引领了日本水墨画的发展,对日本美术史产生了巨大的影响,并广泛波及造园、文学等艺术领域。流入日、韩的“潇湘八景”同在中华大地一样保留着其诗画交融的特性。潇湘已经不仅仅是一个地理区域,而更是一个充满诗情画意的文化概念。
The creation of many poets before the Song Dynasty made the Xiaoxiang area have a rich historical and cultural heritage, which deeply infiltrated the field of painting. After the Song Dynasty, many “Xiaoxiang Eight Scenes” pictures of different artists were born in the inner spiritual freehand transition of Chinese painting as the main body, thus containing more humane connotations than the previous paintings and more diversified Bearing the painters’ perceptual experience and rational thinking, “Xiaoxiang Eight Kingdoms” only become China and overseas enduring big picture. After flowing into Japan, the “Xiaoxiang Eight-Map” of Mu Xi led the development of Japanese ink painting and exerted a tremendous influence on the history of Japanese art and spread it widely to art fields such as gardening and literature. The influx of Japanese and Korean “Xiaoxiang eight Kingdoms” retain the same characteristics of poetry and painting as in the vast land of China. Xiaoxiang is not only a geographical area, but also a poetic and cultural concept.