意象之间:中国山水画视阀中粤北客家宗祠图案的审美观照  

Between Images:Aesthetic Contemplation of Northern Guangdong Hakka Ancestral Temple Patterns from the Perspective of Chinese Landscape Painting

作　　者：蔡泉源 Cai Quanyuan(School of Art and Design of Shaoguan University,Shaoguan 512005,China)

机构地区：[1]韶关学院美术与设计学院,广东韶关512005

出　　处：《艺术与设计（理论版）》2024年第10期134-136,共3页Art and Design

摘　　要：中国山水画具有“意象”之美,其背后蕴含的主体认知和图像观念影响了粤北客家宗祠图案的生成。文章从中国山水画视角来解析粤北客家宗祠图案的意象追求,可以理解为是对中国山水画“意象”追求的另类转化,其图案“意象”带来的“具身”感知是图式意蕴的另一种审美体验和表达。探索粤北客家宗祠图案的意象之美,能加深对粤北客家宗祠文化的理解,以更好地继承和弘扬其图案文化。Chinese landscape painting embodies the beauty of image,which contains underlying subject cognition and image concepts that have influenced the generation of patterns in Northern Guangdong Hakka ancestral temples.Analyzing the pursuit of images in Northern Guangdong Hakka ancestral temple patterns from the perspective of Chinese landscape painting can be understood as an alternative transformation of the pursuit of"images"in Chinese landscape painting.The"embodied"perception brought by the patterns"image"offers another form of aesthetic experience and expression of the schema's meaning.Exploring the beauty of imagery in Northern Guangdong Hakka ancestral temple patterns can deepen ourunderstanding of Northern Guangdong Hakka ancestral temple culture,in order to better inherit and promote its pattern culture.

关 键 词：中国山水画 客家宗祠图案 图案意象 具身感知 

分 类 号：J0[艺术—艺术理论]