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不知从何时开始,樊磊绘画的触角伸向古代文人士大夫们园林美学的重要载体——太湖石。文人士大夫对太湖石的痴迷,对太湖石意象的审美锤炼臻至精微的境地。对于古代文人来说,石不能言最可人。而且,这些太湖石身上历经漫长的时间过程中,不断地增进了自身审美意义的精神重量。它所聚集的时间,首先是自然时间——也即太湖石的成型所花费的大自然千年时光的侵蚀,乃为大自然痛苦的结晶;其次是历史时间,自从它
I do not know since when the tentacles of Fan Lei’s paintings reach the important carriers of the aesthetics of garden aesthetics in ancient literati-Taihu Stone. Literati and physician obsession with the Taihu stone, the aesthetic refinement of the image of Taihu stone refinement to the subtle situation. For the ancient literati, stone can not be the most pleasant person. Moreover, these Taihu stone bodies have continuously enhanced their aesthetic weight in the course of a long time. The time it gathers is, first of all, natural time - the erosion of nature’s millennium spent on the formation of the Taihu Stones, which is a crystallization of the pain of nature; and secondly, the historical time since it