论传统人物画用笔由密向疏转变中的佛教因素  

Buddhism Factors of the Brush Transforming from Dense to Thin in Traditional Figure Painting

作　　者：刘景丽[1] 

机构地区：[1]华东交通大学艺术学院,江西南昌330013

出　　处：《华东交通大学学报》2009年第1期137-140,共4页Journal of East China Jiaotong University

摘　　要：在中国传统人物画中,与工笔画相对应的是另一大画种——写意画.写意画的诞生源于传统人物画用笔由密向疏的转变,而在这转变中,佛教的般若佛学思想起到了不可忽视的重要影响.般若佛学"以无为本、以有为末"的性空之理不仅为中国文化打开了一扇空无之门,也为传统艺术创作注入了一股新的主观精神力量,促进中国传统人物画进一步摆脱了对可视物象的逼肖追求,而转向对神似的追求,对张僧繇、吴道子、梁楷等简略而写意的"疏体"风格影响很大.In traditional Chinese figure painting, another big draw species with the corresponding brushwork painting is impressionistic painting, which originated from the brush transforming from dense to thin in traditional figure painting. Buddhist Prajna plays a very important role in this transformation. It not only opens a door for Chinese traditional culture but also brings a new subjective spirit to traditional culture creation, making the Chinese traditional figure painting get rid of a close resemblance to the pursuit of visual images, and turn to the pursuit of spirit likeness.

关 键 词：中国传统人物画 般若佛学 疏体 密体. 

分 类 号：J20-02[艺术—美术]