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中国画创作历来把宽宏的气度、博大的胸怀作为最高的境界追求和艺术旨归。这种艺术追求和审美取向折射出中华民族“天地与我并生,而万物与我为一”(《庄子》)的哲学思想,亦契合于“众生平等”、“天人合一”的对大千世界的认知态度。于画家的创作过程而言,这种独特的艺术追求更多的是与最为基本亦最为核心的“物”、“我”关系相关联,其中的关键是“既观物又观我”的实践性悖论的正确体认和把握。
Chinese painting has always been the liberal attitude, broad mind as the highest realm of pursuit and artistic purpose. This artistic pursuit and aesthetic orientation reflects the philosophical thinking of the Chinese nation that “heaven and earth merge with me and everything is one with me” (“Zhuangzi”), which is also in line with the principle of “equality of beings” and “harmony between man and nature” The world’s cognitive attitude. As far as the painter’s creative process is concerned, this unique artistic pursuit is more connected with the most basic and core “thing” and “me” relations, the key of which is the practice of “both concept and outlook” Correct understanding and grasping of sexual paradox.