中国古典画学中的“品”“德”观及其教育理路  

Personality and Morality in Chinese Classical Painting

作　　者：何平[1] 

机构地区：[1]东南大学人文学院,江苏南京210096

出　　处：《武陵学刊》2016年第2期15-19,共5页Journal of Wuling

基　　金：国家社会科学基金重大项目"文化强国视域下的传承和弘扬中华传统美德研究"(14ZDA010)

摘　　要：从表层看,中国古典画学理论存在着由强调道德教化向重视审美怡情的转移轨迹,但是从深层看,中国画学始终执着于人性启迪与道德追求。在道德教化上存在三种类型:早期人物画体现出训诫式的显性教育模式;花鸟画体现出比德式的象征教育模式;山水画体现出超越式的隐性教育模式。代表中国画最高成就的山水画具有明显的超越性,体现了对人性自由的信仰和追求,其审美的背后隐伏着一条以"美"立"品",由"品"立"德"的道德教化思路。这表明具有超越性的中国艺术精神成为了道德意识的来源。Outwardly, Chinese classical painting theory has the track of developing from morality cultivation to beauty appreciation. However, inwardly, it has always been focusing on cultivating morality. There are three types of morality cultivation methods in it： apparent admonitory education mode in figure painting, symbolic education mode in bird and flower painting, unapparent transcendent education mode in landscape painting. Landscape painting which represents the highest achievement in traditional Chinese painting has an obvious transcendence, which shows belief in and pursuit of freedom. Behinds it, there is a morality cultivation way of cultivating personality by beauty and morality by personality. This shows that the traditional Chinese art spirit with transcendence is the source of morality.

关 键 词：中国古典画学 “品” “道德” 教育理路 

分 类 号：B825[哲学宗教—伦理学]