| 平远尚淡——宋代山水画论的审美取向 |
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| 引用本文： | 袁向彤.平远尚淡——宋代山水画论的审美取向[J].辽宁师范大学学报(社会科学版),2007,30(1):106-109. |
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| 作者姓名： | 袁向彤 |
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| 作者单位： | 鲁东大学,汉语言文学院,山东,烟台,264025 |
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| 摘 要： | 宋代的美学风格进一步由纤秾转向平淡,画论的尚淡取向,主要表现在缙绅大夫、文人的山水画上。山水画逐渐呈现由以重着色转向重水墨淡彩的风格,在简古、平淡的形式外表中,蕴含着丰腴、绚丽、隽永的深意,使作品摆脱了早期秾丽的色彩和拘泥于物的技法,宋代的绘画美学取得了深粹的效果。笔法平远、以淡为尚是其主要特征,山水画论重视自然、天机、气韵、追求天真平淡,主张表现无穷深意。
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| 关 键 词： | 平远 淡 审美取向 |
| 文章编号： | 1000-1751（2007）01-0106-04 |
| 收稿时间： | 2006-05-12 |
| 修稿时间： | 05 12 2006 12:00AM |
The Plainness and Pedestrianism——The Orientation of Aesthetics of Song Dynasty Scenery Painting |
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| YUAN Xiang-tong.The Plainness and Pedestrianism——The Orientation of Aesthetics of Song Dynasty Scenery Painting[J].Journal of Liaoning Normal University(Social Science Edition),2007,30(1):106-109. |
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| Authors: | YUAN Xiang-tong |
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| Institution: | College of Chinese Literature, Ludong University, Yantai 264025, China |
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| Abstract: | The aesthetic style of Song Dynasty further changed from gorgeousness to pedestrianism,pursuing pedestrian orientation of the painting theory and were mainly displayed in the landscape paintings of scholar-bureaucrat and literati.Landscape paintings emphasizing deep colour gradually turn to the style of water-ink and lighter colour.In simple,ancient and pedestrian appearance,contain the abundant,gorgeous and profound meaning.It makes the works get rid of the early gorgeous color and skill and technique that over-emphasized formality.The painting aesthetics of Song Dynasty are profound and succinct.Its main characteristic is the technique of Painting Plain and Pedestrian.The theory of the landscape painting pays attention to the nature, natural mystery,rhythmic vitality and pursuing naiive and plain and displays infinite meaning. |
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| Keywords: | plainness pedestrianism orientation of aesthetics |
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