摘要
在“生生美学”视野下,古代画论“天趣”范畴呈现出独特的审美内涵、审美特质和生成机制。天趣的审美内涵虽然在不同的时代不断发展变化,但在生生美学的视野下,其核心要义是在生意盎然的感性形态下蕴含着生生不已的生命精神。就其审美特质而言,“天趣”锚定任运自然、浑然天成,神生状外、生具形中,追求超凡脱俗,洗脱纤尘。就其生成机制而言,画家师法天地造化是其根本路径;画家心与天游、忘情融物的审美境界是其首要前提;画家由技进道、与道合一的审美素养是其生成的重要条件。
The category of “Nature Charm” in ancient painting theory has unique aesthetic connotation, aesthetic characteristics and formation mechanism from the perspective of “the Aesthetics of Fecundity of Life”, whose core essential is the endless life spirit in the vibrant perceptual form. In terms of its aesthetic connotations, it has developed, changed, enriched and expanded in different times. In terms of its aesthetic characteristics, “Natural Charm” anchors on the idea of relying of nature for creation, revealing spirit beyond the shape and containing life within the core, so as to achieve transcendence and purity. In terms of its formative mechanism, the artists take the imitation of nature as their fundamental path;the aesthetic realm of the fusion of the artists’ heart and nature is the primary premise;the aesthetic quality of the artists integrate with Taoism is an important prerequisite.
作者
程相占
杜冉冉
CHENG Xiang-zhan;DU Ran-ran(The Center for Literary Theory and Aesthetics,Shandong University,Jinan 250100,China)
出处
《江苏行政学院学报》
CSSCI
北大核心
2022年第5期27-34,共8页
The Journal of Jiangsu Administration Institute
基金
国家社科基金重大项目“生态美学的中国话语构建”(18ZDA024)的阶段性成果。
关键词
生生美学
古代画论
天趣
aesthetics of fecundity of life
ancient Chinese painting theory
Natural Charm
作者简介
程相占(1966-),男,河南新野人,山东大学文艺美学研究中心教授,教育部长江学者,主要研究生态美学、康德美学与中国美学;杜冉冉,山东大学文学院博士研究生,齐鲁师范学院讲师,主要研究中国美学。
