唐代文化兼收并蓄的开明政策对绘画的影响  

On the Influence of the Enlightened Cultural Policy of the Tang Dynasty on Painting

作　　者：杜灿[1] 

机构地区：[1]南阳师范学院美术与艺术设计学院,河南南阳473061

出　　处：《南阳师范学院学报》2009年第10期78-80,83,共4页Journal of Nanyang Normal University

摘　　要：唐王朝对文化所实行的兼收并蓄的开明政策使唐文化呈现出儒释道三教色彩、对外开放性以及创新意识等鲜明的时代特征。唐代绘画在继承魏晋南北朝成就的基础上,善于吸取外来文化的精粹,经过碰撞、沟融丰富发展自己,开拓进取,呈现出古代绘画艺术发展的一个高峰,各种画科在不同程度上都有发展。人物画融合南北艺术之长,进入一个焕烂求备的新时期。鞍马画方面的兴盛与成就,堪称前无古人,后无来者。山水、花鸟画则逐渐成熟并形成独立画科。The all-embracing and enlightened policy towards cultural undertaking enforced by the Tang Dynasty had yielded positive results, and the culture at that time were endowed with tricolors of Confucianism, Buddhism and Taoism, openness to the outside world, as well as consciousness of originality, all of which characteristic of that era. While carrying forward the accomplishments of the Wei, Jin, and Southern and Northern Dynasties （220-581）, the painting art in the Tang Dynasty actively absorbed the essence of foreign cultures and enriched and developed itself by having clashes and integration with other cultures. The Tang Dynasty painting thus forged ahead in great strides and it eventually peaked the development of ancient painting art with new development in various painting disciplines. Figure paintings had been capitalizing on the shining pgints of both the south and the north, entering a new phase of glowing brilliance. The prosperity and achievements in horse painting had been unprecedented. In addition, both the landscape painting and the flowers and birds painting had grown into maturity and developed into an independent discipline of painting.

关 键 词：兼收并蓄 唐代绘画 儒释道色彩 开放性 创新意识 

分 类 号：J120.9[艺术—艺术理论]