中国绘画美学中的“士气”说探微  

Research on the Shi-Qi Theory in Chinese Painting Aesthetics

作　　者：黄滟[1] Huang Yan(School of Philosophy,Wuhan University,430072)

机构地区：[1]武汉大学哲学学院

出　　处：《哲学评论》2017年第1期189-204,共16页Wuda Philosophical Review

摘　　要：“士气”是中国绘画美学中的一种重要学说.它由元代“吴兴八俊”之一的钱选提出,并以“隶体”释之.“士气”说影响着中国元代绘画的图式,是中国传统绘画形上追求的一种独特体现.书法化的线条和个人的道德知识修养是“士气”的基本内涵.在这二者的作用下,“士气”在绘画的表现中逐步具有了自己独立的风格和趣味.士人的清高胸怀在与笔墨结合之时,“士气”说的出现就成了必然.“士气”的审美特征在“士”与“气”的演绎中呈现出来,但它特有的图式也束缚了中国传统绘画图式多元化发展的可能."Shi-Qi"is animportanttheory in Chinese paintingaesthetics.Put forward by Qian Xuan,one of the“Eight Talents in Wuxing”,it was interpreted as“Li-Ti”.As a unique embodiment pursuedby traditional Chinese painting on the shape,the“Shi-Qi”theory affectedthe painting schema in Yuan Dynasty.The basic connation of“Shi-Qi”consisted of calligraphy lines and individual morality and knowledgecultivation,and under the influence of both elements,“Shi-Qi”graduallyformed its ownindependent style and taste in the performance ofpainting.When the lofty mind of scholars combined with brush and ink,theemergence of“Shi-Qi”theory became inevitable.The aesthetic characteristicsof"Shi-Qi"emerged in the performance of both“Shi”and“Qi”.However,its unique schema also constrained the possibility of the diversifieddevelopment of traditional Chinese painting patterns.

关 键 词：士气 隶体 引书入画 价值追求 

分 类 号：G63[文化科学—教育学]