中国画论视野中的画“趣”论  

Discussion of "Qu" Based on Visions under Chinese Painting Theory

作　　者：何世剑[1] 

机构地区：[1]南昌大学,南昌江西330074

出　　处：《江苏广播电视大学学报》2007年第6期38-42,共5页Journal of Jiangsu Radio & Television University

摘　　要："趣"是中国绘画理论批评视野中的重要审美范畴,中国画论视野中的画"趣"论,大致经历了三个阶段:作为一个绘画审美批评概念,它在魏晋南北朝被引入画学批评中;唐宋时期,它得到进一步的充实和发展,逐渐升格为一个绘画审美批评范畴;明清时期,论家对"趣"作为绘画艺术的本质、特征及其来源、生成等予以了进一步的深化论述,"尚趣"呈现出前所未有的兴盛局面,体现为一种时代艺术精神和一股艺术审美思潮相别于前朝。＂Qu＂ is one of the most important aesthetic categories in the visual field of Chinese painting theory criticism. The development of the Chinese painting theory criticism on ＂ qu＂ went through three stages： In the Wei Jin and the Northern and Southern Dynasties, ＂qu＂ as aesthetic criticism concept of painting was introduced to the painting Criticism; In the Tang and Song Dynasty, the research of ＂qu＂ in painting was further substantiated and developed, as a result, ＂qu＂ was promoted as the aesthetic criticism category of painting gradually ; while in the Ming and Qing Dynasty, theoreticians went further to describe ＂ qu＂ as essence, characteristic, source, and composing of painting art. At the same time ,pursuing ＂qu＂ demonstrated unprecedented prosperity which reflected the artistic spirit for the era and aesthetic ideological trend of art that were different from previous dynasties.

关 键 词：中国绘画理论 画趣论 审美范畴 

分 类 号：J212[艺术—美术]