明清画论中的艺术地理学视角及其对颍州画坛的影响  

The Artistic Geography Perspective in Ming and Qing Dynasty Painting Theory and Its Influence on the Yingzhou Painting Circle

作　　者：刘海明 LIU Haiming(School of Literature,Fuyang Normal University,Fuyang 236037,China)

机构地区：[1]阜阳师范大学文学院,安徽阜阳236037

出　　处：《枣庄学院学报》2024年第6期32-36,共5页Journal of Zaozhuang University

基　　金：安徽省高校哲学社会科学研究重点项目“明清颍州画坛山水画的美学思想及其图式研究”(项目编号:2023AH050382);阜阳师范大学教学研究项目“新文科背景下视觉文化在高校教学中的开发与应用”(项目编号:2022JYXM0022)阶段性成果。

摘　　要：在中国绘画史上,山水画和地理环境因素密切相关,并在明清画论中得到了较为集中的书写。通过评述前代山水画家,董其昌等人拉开了南北宗论的序幕,揭示了地理环境在艺术风格形成中的作用。基于此,清代画论进一步完善了环境、人与艺术共生的地理学批评范式,剖析了地理环境对画家创作意识的影响。这种艺术地理学范式从理论上指导着山水画家的创作实践,引导着画家向周围的环境取材,为颍州绘画等区域性艺术发展提供了生存空间。In the history of Chinese painting,landscape painting is closely related to geographical environmental factors and has received relatively concentrated writing in Ming and Qing painting theory.By commenting on previous generations of landscape painters,Dong Qichang and others opened the prelude to the theory of Southern and Northern sects,revealing the role of geographical environment in the formation of artistic styles.Based on the theory,the Qing Dynasty′s painting theory further improved the geographical criticism paradigm of the coexistence of environment,human and art,and analyzed the influence of geographical environment on the creative consciousness of painters.The geographical paradigm theoretically guides the creative practice of landscape painters,guiding them to draw materials from the surrounding environment and providing a living space for regional art such as the Yingzhou painting circle.

关 键 词：明清画论 艺术地理学 南北宗 山水画 颍州画坛 

分 类 号：J20-05[艺术—美术]