论“灵”在清代绘画中的表现  

On the expression of "Ling" in Qing Dynasty painting

作　　者：王露 WANG Lu(School of Art and Design of Communication University of China,Nanjing,Nanjing Jiangsu,211172,China)

机构地区：[1]南京传媒学院美术与设计学院,江苏南京211172

出　　处：《豫章师范学院学报》2023年第1期22-25,共4页Journal of Yuzhang Normal University

摘　　要：清代传统绘画受南北宗论的影响很大,在仿古与师造化的呼声中透露着画家对“灵”的思索与追求。这是因为绘画之“灵”与当时的文学环境有着密切联系;其次,主张师造化的画家在求变过程中对画之“灵”的追求与表现愈加突出。“灵”不仅与画家本性有关,也表现在笔墨和画面之中;写生是师造化的画家对“灵”追求的重要体现。同时研究清代画家的绘画主张,对找出“灵”在清代绘画及理论中的作用有着重要意义。The traditional painting of the Qing Dynasty was greatly influenced by the theory of the North and the South. In the voice of imitating ancient times and creating teachers, there also existed painters’ thinking and pursuit of "spirit". On the one hand, the "spirit" of painting is also closely related to the literary environment at that time;Second, the pursuit and expression of the "spirit" of painting became more and more prominent in the process of advocating the change of painters. "Spirit" is not only related to the nature of painters, but also reflected in the painting and painting;life painting is an important embodiment of the pursuit of "spirit" by the reformist painters who are inspired by nature;while painting from life to "spirit". Study the painting ideas and pursuits of painters in the Qing Dynasty, and find out the important meaning of "spirit" in the painting and theory of the Qing Dynasty.

关 键 词：清代绘画 性灵 灵变 空灵 

分 类 号：J212[艺术—美术] K244[历史地理—历史学]