空孤冷逸:渐江绘画的悲情美  

Solitude and Coldness: the Tragic Beauty from Jianjiang's Paintings

作　　者：武晓丽[1] WU Xiao-li(College of Arts,Xi＇an University,Xi＇an 710065,China)

机构地区：[1]西安文理学院艺术学院,西安710065

出　　处：《唐都学刊》2018年第5期110-112,共3页Tangdu Journal

摘　　要：渐江是明末清初的山水画家,他创造了空境、清冷、静谧、孤寂的画风并将其推向极致,使其山水画具有强烈的象征意义,无论从意境还是技法上都显现出独特的风格。他创造的"家国山河皆空"的悲情图式,构筑了群体在朝代更迭中失落的心理结构,为中国山水画的美学范畴开辟了一种新图式。Jianjiang was a landscape painter in the late Ming and early Qing dynasties. He created the empty,chilly,quiet and solitary style and pushed it to perfection,so that his landscape paintings possessed a strong symbolic significance,both his artistic conception and techniques displayed a unique style. He created the tragic pattern of ＂disintegrated family and country,as well as ruined mountains and rivers＂,having constructed the group＇s lost psychological structure in the dynasty changes,and opened up a new pattern for the aesthetic category of Chinese landscape paintings.

关 键 词：渐江 朝代更迭 空孤冷逸 悲情图式 新安画派 

分 类 号：J205[艺术—美术]