画与道:从顾恺之、宗炳和王薇的画论看魏晋六朝中国绘画的本体论建构  

Painting and Dao: on Ontological Construction of Chinese Painting in Wei,Jin and Six Dynasties from the Perspective of Painting Theories of Gu Kaizhi,Zong Bing and Wang Wei

作　　者：洪永稳[1] HONG Yong-wen(School of Liberal Arts,Huangshan University,Huangshan 245041,China)

机构地区：[1]黄山学院文学院,安徽黄山245041

出　　处：《美育学刊》2018年第5期78-83,共6页Journal of Aesthetic Education

基　　金：安徽省哲学社会科学规划项目"明清‘新安画派’书法艺术研究"(AHSKY2017D96)的阶段性成果

摘　　要：中国绘画在魏晋玄学的滋养下进行本体论建构,形成了"画道观",标志着中国绘画艺术的独立成科以及绘画艺术的初步成熟。这主要表现在顾恺之的"传神写照"论、宗炳的"以形媚道"论和王薇的"形者融灵"论思想上。"画道观"本体之"道"熔铸了主体的情感体验,是主体情感和自然之道的融合。画家对"道"的追寻,促使中国传统绘画艺术之玄远深邃、空灵玄虚的艺术品格的形成,从而形成了中华民族传统绘画艺术风格的深邃性和至上性的民族特征。The ontological construction of Chinese painting in Wei-Jin period was developed under the context of metaphys- ics at that time, resulting in the formation of ＂views of painting and Dao＂, which marks the independent identity and pre- liminary maturity of Chinese painting art. It is well manifested in the following painting views, namely Gui Kaizhi＇ s ＂ex- pressive portrayal theory＂, Zong Bing＇ s ＂theory of visualizing the essence of Dao＂ and Wang Wei＇ s ＂theory of displaying human spirit with landscape painting＂. From the perspective of ontology, ＂views of painting and Dao＂ embodies the emo- tional experience of the subject, an integration of subject emotion and the Dao of nature. The artist＇ s exploration of Dao im- pels the development of deep and profound, empty and mysterious nature of Chinese traditional painting art. As a result, there comes the similar national character of Chinese traditional painting style in terms of profundity and supremacy.

关 键 词：传神写照 澄怀观道 以形媚道 形者融灵 明神降之 

分 类 号：J20[艺术—美术]