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| 山水以形媚道--谈中国古代山水画与老子之道的生命美学 | |
| 引用本文： | 王昭勇. 山水以形媚道--谈中国古代山水画与老子之道的生命美学[J]. 井冈山学院学报, 2006, 27(1): 45-47 |
| 作者姓名： | 王昭勇 |
| 作者单位： | 广西师范大学中文系 广西桂林541004 |
| 摘 要： | 中国古代山水画,源于发达的农耕文明社会,成立于玄学鼎盛的魏晋时期,受道家美学思想熏染更深一些。文章结合老子之“道”的生命美学思想,阐明中国山水画独特的审美个性契合了老子生生不息的生命之“道”。即:水墨显现了“朴”的生命本色,空白处呈现了空灵的生命气韵,远的自觉体现了对“大”的生命境界的追求。 |
| 关 键 词： | 山水画 道 生命美学 |
| 文章编号： | 1673-4718(2006)01-0045-03 |
| 修稿时间： | 2005-12-17 |
The Landscape Visualizing the Essence of Tao--Remarking on the Relations between the Traditional Chinese Landscape Paintings and the Laozi''''s Being Aesthetic |
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| WANG Zhaoyong. The Landscape Visualizing the Essence of Tao--Remarking on the Relations between the Traditional Chinese Landscape Paintings and the Laozi''''s Being Aesthetic[J]. Journal of Jinggangshan University, 2006, 27(1): 45-47 | |
| Authors: | WANG Zhaoyong |
| Abstract: | The traditional Chinese landscape paintings,root the civilization of farming and form on the top period of the metaphysics in the Wei-Jin dynasty and are mostly influenced by the aesthetics of Taoism.In the text I research that the traditional Chinese landscape paintings represent the Laozi's being aesthetics.In other word,the wash visualizes naive being and the blankness visualizes vacant being and farness visualizes broad being in those paintings. |
| Keywords: | the traditional Chinese landscape painting Tao the being aesthetics |
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