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作为道家美学代表人物老子曾经提出过“道气象”的观点,从魏晋南北朝开始,就有“圣人含道映物,贤者澄怀味像”“澄怀观道”。[1]换句话说,审美观照的实质不是把握物象的形势美,而是把握实物的本体和生命。突破象的局限,“取象之外”就比较容易进到对“道”的关照,到了唐代进而演化为“境”的概念。在《观梅图》中马远对于远处的山峦的处理,正如道家美学所追寻的对于道的追寻,对于象外之境的展示。而且在作画时候马远的用笔山峰处偶现实线,山峰整体无具体细节,一概而就。看似是虚体,实际是存在着的,老子虚实学说是“中国古典美学中的一条重要原则,概括了中国古典艺术的重要的美学特点”[2]。
As a representative of the Taoist aesthetics, Lao Tzu once put forward the view that “Road Weather ”, starting from the Wei, Jin and Southern and Northern Dynasties, there are “sage objects, sage Cheng Huai like ” . In other words, the essence of aesthetic view is not to grasp the beauty of the situation of objects but to grasp the essence and life of objects. Breakthrough in the limitations of the image, “take the image outside ” is easier access to “Road ” care, to the Tang Dynasty and then evolved into “territory ” concept. In Yuanmei Tuo, Ma Yuan’s treatment of distant mountains is just like the Taoist aesthetics pursues for the Tao, the exhibition for the outside world. In the painting, however, Ma Yuan’s pen peaked at the real line, without any specific details of the mountain, and did not hesitate. Seemingly fictitious, actually exists, Lao Tzu actual theory is “an important principle in Chinese classical aesthetics, summarizing the important aesthetic characteristics of Chinese classical art ” [2].