两宋时期理学对山水画批评标准的影响  

The Confucianism and criteria of the paintings in the Song

作　　者：张虹[1] 霍素君[2] 

机构地区：[1]沧州职业技术学院,河北沧州061000 [2]河北师范大学学报编辑部,河北石家庄050016

出　　处：《河北师范大学学报（哲学社会科学版）》2007年第5期123-126,共4页Journal of Hebei Normal University(Philosophy and Social Sciences)

摘　　要：魏晋以来论山水画多重在创作客体,但宋人论画重在对主体人格修养的叩问。这一变化固然有山水画作为一门独立的艺术而具备的自身的发展逻辑,但同时也离不开社会文化的外在原因。山水画批评风尚的这一变化时期,正是影响中国社会近千年的理学的流布时期,两宋时期的山水画家和山水画理论家们是难以置身于理学这一"时代精神气候"之外的。While in Wei and Jin, paintings are valued more on the objective components, but in Song the focus of the criteria is switched to the virtue or personality. This is due to the developmental logic of the arts, and the inseparable social factors as well. A historical retrospect would associate the popularity of the Confucianism with the painters and critics at that time.

关 键 词：理学 孔颜乐处 山水画 人格 修养 

分 类 号：J20[艺术—美术]