中国文人画的发展历程及其美学特征  

The History and Aesthetic Features of Chinese Literati Painting

作　　者：曹贵[1,2] Cao Gui

机构地区：[1]武汉理工大学艺术与设计学院 [2]清华大学

出　　处：《天津美术学院学报》2018年第3期89-96,共8页Northern Art:Journal of Tianjin Academy of Fine Arts

基　　金：武汉理工大学2016年自主创新研究基金人文社科重点项目<项目编号:161316002>阶段性成果之一

摘　　要：中国文人画是一种融诗书画印于一炉的综合性艺术,它的勃兴和成长,是中国多种文化因素促成的结果。它孕育于汉魏两晋南北朝,滥觞于唐代,发展于五代两宋,成熟于元代,繁荣于明清,换新貌于现当代。在近两千年的发展演变中,文人画形成了自身鲜明的特色,其总的美学特征表现在三方面:一是表现形式上,诗书画印相结合,特重笔墨语言;二是描绘对象上,以山水、花鸟为主,多表现梅兰竹菊、枯木怪石等;三是内在追求上,深受道佛思想影响,多抒发个人的出世情怀,因此画面多营造阴柔、秀丽和淡雅的诗意效果。Chinese literati painting is a comprehensive art which incorporates poetry, calligraphy, painting and seal cutting, whose rise and growth are an indication of influence from multiple cultural elements. It was conceived in the Han, Wei, Jin, Northern and Southern Dynasties, originated in the Tang Dynasty, gained growth in the Five Dynasties and the Song Dynasty, matured in the Yuan Dynasty, prospered in the Ming and Qing Dynasties and took on a new look in modern and current times. Through its evolution of nearly 2,000 years literati painting has revealed its features as follows: 1) forms: a combination of poetry, calligraphy, painting and seal cutting;2) objects: primarily mountains, rivers, flowers, birds, plums, orchids, bamboos, chrysanthemums, withered wood and grotesque rocks;3) spiritual pursuits: deeply influenced by Taoism and Buddhism, to describe one’s unworldly longings, thus creating a poetical effect full of femininity, delicacy and quiet elegance.

关 键 词：文人画 发展历程 艺术成就 美学特征 

分 类 号：J212[艺术—美术]