从形状到气韵:“奇”在古代画论中的内涵演变  

From Shape to Aura: The Metamorphosis of Strangeness in Ancient Chinese Painting Theories

作　　者：李永亮 LI Yongliang(College of Fine Arts,Fujian Normal University,Fuzhou 350117)

机构地区：[1]福建师范大学美术学院,福州350117

出　　处：《文化艺术研究》2021年第6期88-94,115,共8页Studies in Culture and Art

基　　金：福建省社科规划重点项目“闽派绘画艺术发展史研究”(项目编号:FJ2015A022)的阶段性成果。

摘　　要："奇"在古代画论中原指超逸脱俗的用笔造型。然而,当"尚奇"在晚明社会成为最普遍的审美趣味之后,文人画家便开始斥责它的泛滥流俗。为了维护"奇"乃至文人画的正统地位,他们试图将"奇"的内涵从怪奇造型转换为主体气韵,促使"尚奇"摆脱流俗之困,重新成为文人本位的美学范畴,由此可以窥见明末清初大众与文人之间的审美话语博弈。In ancient Chinese painting theories, strangeness means elegant and ethereal brushwork. Yet when strangeness featured in the late Ming aesthetics, the literati began to dismiss it as kitsch. To make strangeness and literati paintings noble again, they tried to alter the connotation of strangeness from strange shapes to outstanding aura, to rid it of kitsch and make it literati again, implying a game of discourse between the public and the literati in the late Ming and early Qing dynasties.

关 键 词：古代画论 “奇” 内涵演变 

分 类 号：J201[艺术—美术]