意存笔先 气韵生动——邓以蜇的艺术至境论  

On Deng Yizhe's View of Art Perfection

作　　者：王建英[1] 

机构地区：[1]中北大学艺术学院,山西太原030051

出　　处：《海南师范大学学报（社会科学版）》2014年第1期135-140,144,共7页Journal of Hainan Normal University(Social Sciences)

基　　金：教育部人文社会科学研究青年基金项目"留学经验与我国早期艺术学研究"(10YJC760070)成果

摘　　要：邓以蜇是我国现当代著名的美学家和艺术理论家,邓以蜇认为中国艺术的最高境界是"气韵生动",中国的艺术家要创造这样至高的艺术境界,需具备一定的人格素养,中国艺术家用其毕生精力追求艺术达到最高的理想境界,并且用"气韵生动"这样一个概念来形容艺术至高的境界。气韵生动的艺术境界获得首先要"意在笔先"。邓以蜇从三个方面论析了气韵生动的内涵与意义。A famous esthetician and art theorist in modern China, Deng Yizhe opines that the loftiest state of Chinese art lies in its ＂rhythmic vitality＂ whose attainment not only requires the personality accomplishment of Chi- nese artists but also signifies the highest ideal state of their lifelong-pursued art, as is refined in the above four char- acters -＂ rhythmic vitality＂. As the attainment of the artistic state of ＂rhythmic vitality＂ is initially embodied in ＂having a well-wrought plan beforehand＂, Deng Yizhe has expounded on the connotation and significance of rhyth- mic vitality in three aspects.

关 键 词：邓以蜇 气韵生动 艺术学 艺术至境论 

分 类 号：J01[艺术—艺术理论]