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作 者:黄坚[1]
出 处:《泉州师范学院学报》2004年第3期92-97,共6页Journal of Quanzhou Normal University
摘 要:对中国艺术而言,由周易而衍生的阴阳观及太极思维几千年来已深嵌在中国艺术创作之中,中国画及山水画是其典型事例。如果不从本原上找到解释"气"、"韵"的方法论依据,那么对传统文化的认识是一句空话。"气"表达一种无形的空间概念,在中国人眼里已上升为文化哲学概念,对这个问题的解读有助于我们对中国民族艺术形式中潜结构的探索,并且找出这种潜结构在当今具有的现代涵义。As far as Chinese art,YIN YANG viewpoint and TAI JI thought derived from ZHOU YI have been embedded deeply into Chinese artistic creating for thousand years,the typical examples are traditional Chinese painting and mountains-and -waters painting.If people do not find the basis to explain the methodology of “Qi”and“Yun”from the origin,the know of traditional culture is all in vain.“Qi”expresses an invisible space concept,it has raised to a cultural philosophical concept in Chinese eyes,the explanation of this problem will be of benefit to the search for the latent structure in Chinese national artistic form,and the modern signification of latent structure at present would be found.
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