石鲁《学画录》的创作美学研究  

A Study on the Creation Aesthetics of Shi Lu’s Xue Hua Lu

作　　者：屈健 张俊杰[2] QU Jian;ZHANG Jun-jie(Department of Art History,Xi’an Academy of Fine Arts,Xi’an 710065,China;Art School,Northwest University,Xi’an 710127,China)

机构地区：[1]西安美术学院美术史论系,陕西西安710065 [2]西北大学艺术学院,陕西西安710127

出　　处：《西北大学学报（哲学社会科学版）》2023年第6期122-128,共7页Journal of Northwest University：Philosophy and Social Sciences Edition

基　　金：文化名家暨“四个一批”人才资助选题资助项目;第三批陕西省“三秦学者”创新团队支持项目。

摘　　要：“以神造形”是石鲁《学画录》关于创作美学的核心主张。一方面,他通过“主观”“客观”“一般”“个别”“抽象”“虚构”等现代概念和语汇重构了以“心”“物”“形”“神”为代表的传统美学范畴,还原了国画创作的心理图式;另一方面,他又以“意”“理”“法”“趣”分疏国画创作中的“笔”“墨”“形”“意”等技术原则,重申了“物我同一”“形神兼备”的审美理想。《学画录》的美学主张,见证了长安画派“一手伸向传统”的探寻历程,同时也是新中国“十七年美术”赓续传统、谋求创新时代精神的生动写照。“Create form with spirit”is the core proposition of Shi Lu’s Xue Hua Lu about creative aesthetics.On the one hand,he reconstructed the traditional aesthetic category represented by“heart”,“object”,“form”and“spirit”through modern concepts and vocabulary such as“subjective”,“objective”,“general”,“individual”,“abstract”and“fiction”,and restored the psychological schema of Chinese painting creation.On the other hand,he also used“meaning”,“reason”,“method”,“interest”to separate the“pen and ink techniques”,“form”,“meaning”and other technical principles in the creation of traditional Chinese painting,and reiterated the aesthetic ideal of“the unification of the main body with the external objects”and“both form and spirit”.The aesthetic proposition of Xue Hua Lu has witnessed the exploration process of Chang’an School of Painting in“reaching for tradition with one hand”,and it is also a vivid portrayal of the spirit of new China’s“seventeen-year art”to continue the tradition and seek innovation.

关 键 词：石鲁 《学画录》 创作美学 

分 类 号：J0[艺术—艺术理论]