中国人物画艺术美学精神探微  

Exploring the Aesthetics of Chinese Figure Painting

作　　者：郭福平[1] 

机构地区：[1]福建教育学院中文系,福建福州350002

出　　处：《福州大学学报（哲学社会科学版）》2012年第4期83-87,112,共5页Journal of Fuzhou University(Philosophy and Social Sciences)

摘　　要："形"、"神"的纠葛与对立,构成了中国人物画艺术美学精神的主体方面。在传统画论中,"形"和"神"也构成一种有趣的二元对立。在魏晋以前,绘画理论与实践基本倾向于重视形体描绘,而轻视神态与精神。之后,发生了一个转折,即转向以"传神"为最高境界与追求。经过历代画家与理论家的发展完善,"传神"说逐渐成为中国人物画论中核心的概念与理论诉求。The dispute over artistic form and spirit has been a major issue in aesthetics theory of Chinese figure painting.The dichotomy between artistic form and spirit has been the focus of traditional Chinese painting theory.Before the times of Wei and Jin Dynasties,the focus was on the portrayal of the vivid appearance of the figure.Later,the emphasis is turned to the conveying of the inner worlds of the figures,which has developed into systematic theory of Chinese figure painting with contributions by later generations of painters and theorists.

关 键 词：中国人物画 传神说 艺术美学 传统画论 

分 类 号：J01[艺术—艺术理论]