风骨与艺术创作关系考论  

On the Relationship between "Feng Gu" and Art Creation

作　　者：孟冠华[1] MENG Guan-hua(School of Fine Arts,Jinzhong University,Jinzhong,Shanxi 030600)

机构地区：[1]晋中学院美术学院,山西晋中030600

出　　处：《艺术百家》2020年第2期189-193,共5页Hundred Schools In Arts

摘　　要："风骨"说的思想基础可追溯到先秦老庄理论,经魏晋人物品鉴,到自我精神的觉醒,成为文艺品评的重要方式。南朝刘勰有《文心雕龙·风骨》篇,蕴含着作者对于艺术创作的思考。首先,文章对"风"与"骨"进行概念溯源,并对其内涵作深入分析。其次,描述中国古代文论、书论、画论中蕴含的"风骨"元素。最后,从笔墨、线条、人品逐一探讨"风骨"对艺术创作的影响。在传统审美价值模糊的当下,重提"风骨",对艺术创作有一定的启示。The ideological basis of " Feng Gu" theory can be traced back to the theory of Laozhuang in the pre-Qin Dynasty,through the character evaluation of Wei and Jin dynasties,to the awakening of self-spirit,and become an important way of literary and artistic evaluation. In the Southern Dynasty,Liu Xie had " Wen Xin Diao Long Feng Gu",which contained the author’s thoughts on artistic creation. First of all,the article traces the concept of " wind" and " bone ",and makes a deep analysis of its connotation. Secondly,it describes the elements of " Feng Gu" contained in ancient Chinese literary theory,book theory and painting theory. Finally,from the pen and ink,lines,personality one by one it explores the impact of " Feng Gu" on artistic creation. At the moment when the traditional aesthetic value is vague,the re-introduction of " Feng Gu" has certain enlightenment to artistic creation.

关 键 词：艺术风格 艺术精神 风骨 美学理念 艺术创作 

分 类 号：J20[艺术—美术]