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中国传统绘画注重主观感情的抒发,自我之“意”的表现。故有“意象艺术”的说法。基于这种主观意识极强烈的审美理念,画家们所追求的艺术境界与思想情感则体现为对幽深渺远、萧疏平淡之境界的追求。而沈周的《东庄图册》却以其对景物描写的客观性及其纯粹的审美之风,在前朝山水画传统的强势之下散发着纯朴、恬静、精美的时代气息,更以其客观、纯美的艺术精神给予后人一种特有的美学价值及审美启示。而这种审美现象的出现绝不是偶然与孤立的,而是与明朝中叶的社会变革、特别是哲学、宗教、文化的发展是密不可分的。面对日益西方化的当代物质生活与人们不断异化的价值观与精神领域,我们应关注当代生活的方方面面,关怀当下人们的生存环境以及精神和心理状态,对身边之景、眼见之物进行艺术语言及形式的探究。这正是我们当今研究沈周及其《东庄图册》的意义所在。
Chinese traditional painting emphasizes the expression of subjective feelings and the expression of self “meaning ”. Therefore, “image art ” argument. Based on this extremely subjective ideology, the artistic and intellectual sentiments pursued by painters reflect the pursuit of deep and remoteness and the plainness of Xiao Shu. However, Shen Zhou’s “Dongzhuang Atlas”, with its objective description of scenery and its purely aesthetic style, exudes simplicity, tranquility and exquisiteness in the traditional stronghold of the previous landscape painting. Pure artistic spirit to give descendants a unique aesthetic value and aesthetic inspiration. The appearance of such aesthetic phenomena is by no means accidental and isolated. It is inextricably linked with the social transformation in the middle Ming Dynasty, especially the development of philosophy, religion and culture. In the face of the increasingly Westernized contemporary material life and ever-changing values and spheres of human beings, we should pay attention to all aspects of contemporary life, care for the present people’s living environment as well as their mental and psychological state, and carry out the artistic language of the surrounding scenery and seeing things And the form of inquiry. This is exactly what we mean by studying Shen Zhou and his “Dongzhuang Atlas” today.