魏晋南北朝山水画发展和传统隐逸思想之关系  

The Relationship between the Landscape Painting Development in the Wei-Jin(Southern & Northern) Dynasties and Traditional Recluse Thinking

作　　者：胡军[1] 

机构地区：[1]江西科技师范学院,江西南昌330013

出　　处：《江西科技师范学院学报》2008年第3期101-105,共5页Journal of Nanchang Vocational & Technical Techers' College

摘　　要：魏晋南北朝时期山水画发展状况研究历来是传统山水课题研究的重点。从对考古发现的魏晋南北朝墓葬壁画中山水图象和唐以后山水画的比较分析,我们发现,事实上魏晋南北朝时山水画已取得了很大的发展,而且在其发展中传统的隐逸思想起了很重要的作用。魏晋南北朝时,隐士和具有隐逸思想的文人士大夫构成了山水画家的主体,山水画创作也几乎都以表现隐逸精神为主。隐逸思想促进了山水画规模上的巨大发展,在构图形式上使人物形象由大变小,山水图象由小变大、由开放转向闭合,从而使纯山水画的形成变为可能。The research on landscapes development of the Wei-Jin （Southern ＆ Northern） Dynasties has always been the study focus of the subject of traditional landscape paintings. The paper analyzes and compares the landscape images in the tomb murals in the Wei-Jin （Southern and Northern） Dynasties and the landscapes after the Tang dynasties, and it finds that actually the landscapes in the Wei-Jin （Southern and Northern） Dynasties had achieved great development. And in its development, the traditional seclusion thinking played a very important role in its develooment.

关 键 词：魏晋南北朝 山水画 隐逸思想 

分 类 号：J120.9[艺术—艺术理论]