中国画“形神论”的审美意蕴探微  

Probing into the Aesthetic Implication of "Form and Spirit Theory" in Chinese Painting

作　　者：赵占元[1] ZHAO Zhan-yuan(School of Fine Arts and Art Design,Qiqihar University,Qiqihar Heilongjiang 161006,China)

机构地区：[1]齐齐哈尔大学美术与艺术设计学院,黑龙江齐齐哈尔161006

出　　处：《齐齐哈尔大学学报（哲学社会科学版）》2019年第3期137-138,151,共3页Journal of Qiqihar University(Philosophy & Social Science Edition)

基　　金：黑龙江省哲学社会科学研究规划项目:20世纪中国美术批评研究(17YSE392)

摘　　要：作为写意性的中国画,求神是本,求形是末。在精确地描绘形象的基础上使二者生动传神,统一于艺术创作之中。笔墨当随时代,发展需要创新。中国画重在写意,写"形"是基础,写"神"才是目的。对于传统的造型观、笔墨观、价值观、我们要以历史的眼光,理性客观的认知和看待、把握传统,面向当代,在变革中不断发展中国画的理论与实践,好学善取、化古开今、主动创造,在传承中反省和思考,在汲取和扬弃中弘扬中国画艺术。As a freehand Chinese painting,seeking spirit is important,seeking form is secondary. On the basis of accurately depicting the image, make the two achieve vivid expression,thus unifying the two in artistic creation. Pen and ink follow the times,development needs innovation. Chinese painting focuses on freehand brushwork,with "form" as the foundation and " spirit" as the purpose. We should grasp the traditional shape,brush and ink and value in the light of history and objective cognition. Facing the contemporary era,we should constantly develop the theory and practice of Chinese painting in the process of reform. We should be eager to learn and learn,turn the ancient into the modern,create actively,reflect and think in inheritance,and carry forward the art of Chinese painting in assimilation and sublation.

关 键 词：中国画 形似与神似 天人合一 审美意蕴 

分 类 号：J212[艺术—美术]