大禅一粒粟 能吸四海水——八大山人的花鸟画和山水画艺术品格  

The Artistic Style of Badashanren's(Zhu Da) Flower-and-bird Paintings and Landscape Paintings

作　　者：黄志强[1] 

机构地区：[1]泉州师范学院美术与设计学院,福建泉州362000

出　　处：《华侨大学学报（哲学社会科学版）》2013年第1期149-155,共7页Journal of Huaqiao University(Philosophy & Social Sciences)

基　　金：福建省教育科学"十二五"规划课题子课题(FJCGGJ12-028);泉州市重点社科项目(2011Z10)子课题

摘　　要：在明末清初"厚古薄今"风中,八大山人虽"出禅入道",却不像石涛那样打着"立一画之法"的旗号去颠覆传统,而是兼收并蓄,走着一条既尊重传统又超越传统的艺术道路。八大山人的艺术品格在于"学古而化"和"外师造化",也即一个"化"字,得其"化机"和"化境"。功夫深处,人们不知其师承何家何派,"上天下地,惟我独尊"。During the atmosphere of ＂laying more stress on the past than on the present＂ in the late Ming and early Qing dynasty, Badashanren （Zhu Da, 1626 - 1705 ） , though familiar with Buddhism and Taoism, pursued an art road of re- specting and surpassing the traditions, taking in everything, not like Shi Tao who ＂want to be unique way of painting＂ to subvert the traditions. His artistic style is a harmonious blend of the past and nature by learning others, that is to say, it is changes. His art showed so good workmanship that nobody knows he inherited whose painter＇s style and he created his own ＂his unique style.

关 键 词：八大山人 花鸟画 山水画 艺术品格 

分 类 号：G122[文化科学]