林散之画论的审美理念及儒道释互融的思想倾向  

The Aesthetic Idea of Lin Sanzhi's Painting Theory and the Ideological Tendency of the Integration of Confucianism,Taoism and Buddhism

作　　者：杨慧茹 Yang Huiru

机构地区：[1]南京艺术学院美术学院

出　　处：《美术观察》2024年第8期84-87,共4页Art Observation

基　　金：2021年度国家社科基金艺术学重大项目“中国传统美术的当代复兴”研究成果,项目编号:21ZD23。

摘　　要：林散之是近现代诗书画兼善的艺术大家,尤以草书闻名于世。然正如他自言“诗一,画二,字老三”,事实上,林散之的绘画成就亦是斐然可观。他自幼习画,后师从黄宾虹,一生游览了众多名山大川,这为其艺术创作提供了源源不断的灵感。与此同时,他对绘画理论也有诸多探讨,留下了不少谈画言论和论画诗。在这些言论和论画诗中,蕴涵了林散之师古与师造化并行的创新理念,以及形神并重的审美思想和儒、道、释互融的倾向。林散之的画学,既是他绘画实践的理论总结,更是他能于近现代众多书画家中脱颖而出并影响至今的原因所在。Lin Sanzhi is an outstanding figure in modern poetry,calligraphy,and painting,and is known primarily for his calligraphy in cursive script.However,as he said,"poetry first,painting second,and calligraphy third"Lin Sanzhi's paintings are also remarkable.He started painting at a young age,then trained under Huang Binhong,and visited numerous scenic mountains and rivers throughout his life.As a result,the experiences provided him with a constant source of inspiration.Simultaneously,he also explored a lot of painting theories,leaving behind quite a few remarks and poems on painting,which embodied Lin Sanzhi's innovative concept of mastering the ancient and mastering zhaohua(creation).His aesthetic thinking emphasized both form and spirit and his tendency to integrate Confucianism,Taoism,and Buddhism.Lin Sanzhi's painting theory is not only the theoretical summary of his painting practice but also what distinguishes him among many modern painters and calligraphers whose influential power is still present today.

关 键 词：林散之 画学思想 形神并重 儒道释互融 

分 类 号：J212[艺术—美术]