宋元山水画“平远”图式的美学意蕴  

Aesthetic Implication of“Ping Yuan”Schema in Song and Yuan Dynasties Landscape Paintings

作　　者：刘桂荣[1] 王肖南[2] LIU Guirong;WANG Xiaonan(College of Art,Hebei University,Baoding,Hebei 071002;College of Philosophy and Sociology,Hebei University,Baoding,Hebei 071002,China)

机构地区：[1]河北大学艺术学院,河北保定071002 [2]河北大学哲学与社会学学院,河北保定071002

出　　处：《河北大学学报（哲学社会科学版）》2021年第3期11-17,共7页Journal of Hebei University(Philosophy and Social Science)

基　　金：国家社会科学基金重大项目“美学与艺术学关键词研究”(17DA017);国家社会科学基金后期资助项目“宋代艺术哲学思想研究”(17FZX007)。

摘　　要：“平远”观念由北宋郭熙提出并得到当时文人的接受和倡扬,进而宋元山水画的图式结构由宋前期的“高远”“深远”而转向了“平远”。“平远”图式呈现为视觉、虚实和时空图式,从而使其观照方式生成为静观、游观和妙悟的特质;这种图式特征建构了平远山水的“意外之趣”和“平淡之境”,彰显出超越逍遥、平宁淡泊之生命境界,同时,此图式结构亦衍生为一种“文化记忆”,支撑并活络在文化生命里。“Ping Yuan”concept was brought up by Guo Xi in Northern Song Dynasty and accepted with advocacy by literates at that time.Then the schema structure in Song and Yuan Dynasties' Landscape Paintings changed from“lofty”and“far-reaching”in early Song Dynasty to“Ping Yuan”.“Ping Yuan”schema has the characteristics of vision,virtual reality and space-time,which construct the“unexpected interest”and“plain state”of Ping Yuan Landscape,and highlights the transcending carefree,peaceful and indifferent life realm.At the same time,this schema structure also derives into a kind of“cultural memory”,which supports and enlivens the cultural life.

关 键 词：平远 图式 观照 平淡 

分 类 号：J01[艺术—艺术理论]