汉代地理图像与中国山水画之诞生
发布时间：2018-08-28 18:15
【摘要】：魏晋以降,中国山水艺术开启了一个逐步"向内转"的通道,经中唐至宋元,最终蜕变为纯然心灵的映像形式。但是,就中国山水画的起源看,它仍奠基于对国家地理山川的实景描绘。认知而不是审美,写实而不是写意,构成了这门艺术得以生成的始点。有汉一代,是中国上古地理图像绘制的成熟期,也是实景图绘向山水艺术的转进期。这一时代的地理图像,以宏阔的天下视野,将国家地理、山川风物一网打尽,为后世的山水画创作确立了基本范式和格局;其经验与想象交并的方式,则为山川实景向审美表达的生成提供了原初背景。据此,考察汉代地图与中国山水画的源流关系,其价值有三:一是确证写实之于中国山水画的本源地位,借此可以将山水画纳入到一个纵贯国史的图像史序列;二是确认汉代上承先秦地图史、下启魏晋山水史的独特位置,将其视为从地理认知向山水审美递变的转折点;三是将山水艺术视为一种广义的地理美学,借此对宋元以来山水画日益虚灵化的取向做出校正。
[Abstract]:In Wei and Jin dynasties, Chinese landscape art opened a gradual "inward" channel, through the mid-Tang Dynasty to the Song and Yuan dynasties, the final transformation into a pure mind image form. However, as far as the origin of Chinese landscape painting is concerned, it is still based on the realistic landscape description of National Geographic. Cognition rather than aesthetics, realism rather than freehand brushwork constitute the beginning of this art. Han Dynasty is the mature period of Chinese ancient geographical image drawing, and also the stage of the development of landscape painting. The geographical images of this era, with a broad view of the world, all of the national geography, mountains and rivers, the creation of landscape painting for future generations to establish a basic paradigm and pattern; its experience and imagination of the way to merge, It provides the original background for the formation of the aesthetic expression of the realistic scenery of the mountains and rivers. According to this, the relationship between the map of Han Dynasty and Chinese landscape painting has three values: first, it confirms the original position of realistic painting in Chinese landscape painting, so that landscape painting can be brought into an image history sequence of vertical history of China; The second is to confirm the unique position of the history of landscape and landscape in the Han Dynasty, and to regard it as the turning point from geographical cognition to landscape aesthetics, and the third is to regard landscape art as a kind of broad geographical aesthetics. In this way, the landscape painting since the Song and Yuan dynasties increasingly virtual orientation to make a correction.
【作者单位】： 北京师范大学哲学学院;
【基金】：2015年度中央高校基本科研业务费专项资金资助项目“传承与弘扬中华美学精神研究”(项目编号:SKZZB2015039)阶段性成果之一 北京舞蹈学院人才强教特聘客座专家计划项目(2016年)“中国古典乐舞的早期形式与哲学生成”阶段性成果之一
【分类号】：J212;K928.6
，
本文编号：2210204
[Abstract]:In Wei and Jin dynasties, Chinese landscape art opened a gradual "inward" channel, through the mid-Tang Dynasty to the Song and Yuan dynasties, the final transformation into a pure mind image form. However, as far as the origin of Chinese landscape painting is concerned, it is still based on the realistic landscape description of National Geographic. Cognition rather than aesthetics, realism rather than freehand brushwork constitute the beginning of this art. Han Dynasty is the mature period of Chinese ancient geographical image drawing, and also the stage of the development of landscape painting. The geographical images of this era, with a broad view of the world, all of the national geography, mountains and rivers, the creation of landscape painting for future generations to establish a basic paradigm and pattern; its experience and imagination of the way to merge, It provides the original background for the formation of the aesthetic expression of the realistic scenery of the mountains and rivers. According to this, the relationship between the map of Han Dynasty and Chinese landscape painting has three values: first, it confirms the original position of realistic painting in Chinese landscape painting, so that landscape painting can be brought into an image history sequence of vertical history of China; The second is to confirm the unique position of the history of landscape and landscape in the Han Dynasty, and to regard it as the turning point from geographical cognition to landscape aesthetics, and the third is to regard landscape art as a kind of broad geographical aesthetics. In this way, the landscape painting since the Song and Yuan dynasties increasingly virtual orientation to make a correction.
【作者单位】： 北京师范大学哲学学院;
【基金】：2015年度中央高校基本科研业务费专项资金资助项目“传承与弘扬中华美学精神研究”(项目编号:SKZZB2015039)阶段性成果之一 北京舞蹈学院人才强教特聘客座专家计划项目(2016年)“中国古典乐舞的早期形式与哲学生成”阶段性成果之一
【分类号】：J212;K928.6
，
本文编号：2210204
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