魏晋画论中的生命意识探析——以“传神论”的内涵演变为中心  

An Analysis of Life Consciousness in Wei Jin Painting Theory:On the Evolution of the Connotation of“Transmission Theory”

作　　者：吕孟昕 LV Mengxin(School of Media and International Culture,Zhejiang University,Hangzhou 310012,China)

机构地区：[1]浙江大学传媒与国际文化学院,浙江杭州310012

出　　处：《广西科技师范学院学报》2024年第2期40-48,共9页Journal of Guangxi Science & Technology Normal University

摘　　要：魏晋时期是中国绘画艺术史上一个非常具有代表性的时期,在这一阶段人的自我意识和审美意识觉醒。在儒、释、道三家和玄学思想的影响下,魏晋时期的绘画艺术开始逐步关注主体人的内在生命,同时期的绘画理论亦随之发生转变。人物肖像画和山水画实质上都是对现实生命的超越,在这一过程中,人的精神生命内容贯穿始终,画家的自我意识及自我意识的延伸则是构成生命之超越的基本范畴。在此基础上,以顾恺之“传神论”为基础的理论深刻地影响了中国传统绘画艺术,极大地带动了中国传统绘画艺术的发展,可以说是中国绘画理论史上的重要转折点。The Wei and Jin dynasties were a very representative period in the history of Chinese painting,during which people’s self-awareness and aesthetic consciousness were awakened.Under the influence of Confucianism,Buddhism,Taoism,and mystical thought,the painting art of this period gradually began to focus on the inner life of the subject,and the painting theory of this period also underwent a transformation.Portrait and landscape paintings are essentially transcending real life.In this process,the spiritual life content of humans runs through the entire process,and the painter’s self-awareness and its extension are the basic categories that constitute the transcendence of life.On this basis,the theory based on Gu Kaizhi’s“transmission theory”has deeply influenced traditional Chinese painting art,greatly driving its development,and can be said to be an important turning point in the history of Chinese painting theory.

关 键 词：魏晋画论 传神论 精神生命 自我意识 生命意识 

分 类 号：J212[艺术—美术]