山水审美:从“坐究四荒”到“坐穷泉壑”之变  

Aesthetic taste in mountains and waters

作　　者：陈谷香[1] 

机构地区：[1]浙江大学艺术学院,浙江杭州310027

出　　处：《东南大学学报（哲学社会科学版）》2013年第1期90-94,133,共5页Journal of Southeast University(Philosophy and Social Science)

基　　金：国家社科基金艺术学项目"宋代画学研究"(10CF093)成果之一

摘　　要：经历了血雨腥风,魏晋南北朝的文士们完成了从积极参与到达观随遇,从人世的失落到山水的逍遥之转移。宗炳论山水时的"坐究四荒"其实质就是以玄对山水,即以超越于世俗之上的虚静之心对山水。而唐王朝的盛世强音,呼唤着士人们纷纷从山林走向朝堂。宋代更是士大夫的黄金时代,身居庙堂的文人士大夫前所未有的多。这导致一种普遍的审美立场的转变。从宗炳的"坐究四荒"到郭熙的"不下堂筵,坐穷泉壑"反映了山水画的审美从隐逸立场到士大夫立场的转变。相应地,山水画追求的理想意境也从"无人之野"转向"可居、可游"之境。The bloody wars thwarted the political ambitions of the distinguished scholars in the period of Wei,Jin,Southern and Northern Dynasties.They had to reconcile themselves to the changes and devoted all their interest to the appreciation of mountains and waters.A striking example is Zong Bin's ideas about the beauty of mountains and waters.However,the powerful Tang Empire encouraged men of letters to give up seclusion and engage themselves in politics.In the Song Dynasty the number of scholars employed by the government was exceedingly large.This resulted in a shift in aesthetic taste from seclusion to participation.Accordingly,the taste in paintings of mountains and waters underwent a shift from wilderness to worldly life.

关 键 词：山水画 审美立场 理想意境 

分 类 号：J209.2[艺术—美术]