中国传统山水画图式表现与老庄“道”理念  

The Schematic Expression of Chinese Traditional Landscape Paintings and Lao-Zhuang Concept of Tao

作　　者：黄齐贤 柳娜[1] 黄南南[1] Huang Qixian;Liu Na;Huang Nannan(Jiangxi Science and Technology Normal University,Nanchang,Jiangxi,330038)

机构地区：[1]江西科技师范大学,江西南昌330038

出　　处：《地方文化研究》2023年第3期79-86,共8页Local Culture Research

基　　金：江西省科技计划—应用研究培育计划2018年度项目“南昌汉代海昏侯墓出土金银铜器图案、纹饰数字化展示与研究”(项目编号:20181BBE58019);2021年江西省高等学校教学改革研究省级立项课题“高校音乐通识课与思政建设的协同研究”(项目编号:JXJG-21-10-24)阶段性研究成果。

摘　　要：中国传统文人山水画独特的图式表现,与老庄哲学“道”的理念密切相关。文人山水画“留白”手法产生的独特视觉效应、画面结构“可游可居”的空间布局、物象表现的“汪洋恣肆、浑然天成”等,均源生于老庄哲学的“道法自然”的理念,由此构成了中国绘画卓立于世界民族艺术之林的独异色彩。这一传统至今仍为中国绘画艺术所继承,成为中国传统山水画面空间构图的主要模式与原则。The unique schematic expression of traditional Chinese landscape paintings composed by literati is closely related to the concept of Tao in Lao-Zhuang philosophy.The concept of “Tao following nature” in Lao-Zhuang philosophy was reflected in the unique visual effects generated by the technique of leaving blank space in literati landscape paintings,the spatial layouts of the picture structure which give us an illusion that we can travel and live in the paintings,and the natural and unrestrained expression of objects and images.This constitutes the unique charm which wins a reputation for Chinese paintings in the circle of national arts throughout the world.Inherited by Chinese painting arts,the expression method has become the major model and principle of spatial composition in traditional Chinese landscape paintings.

关 键 词：老庄 道 山水画 空间表现 

分 类 号：G122[文化科学]