| 慧远“形象本体”之学与宗炳《画山水序》的理论建构 |
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| 引用本文： | 蔡彦峰.慧远“形象本体”之学与宗炳《画山水序》的理论建构[J].南京师范大学文学院学报,2011(2):119-124. |
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| 作者姓名： | 蔡彦峰 |
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| 作者单位： | 福建师范大学文学院,福建福州,350007 |
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| 基金项目： | 国家社会科学基金项目“士僧交往与六朝文学艺术研究”(10CZW022) |
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| 摘 要： | 宗炳《画山水序》是我国绘画史上第一篇论述山水画理论的重要著作,学术界对《画山水序》的各种理论命题做了深入的探讨。宗炳在传统山水画创作远未成熟的情况下,建构了系统的山水画理论,对这一现象的研究却是非常薄弱的。慧远强调以＂形象＂的审美体悟本体的＂形象本体＂之学,为山水画理论的建构奠定了思想基础。宗炳追随慧远并接受＂形象本体＂之学,这是形成《画山水序》前瞻性的山水画理论的内在原因。
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| 关 键 词： | “形象本体”之学 山水审美客体 《画山水序》 山水画理论 |
Hui Yuan's Imaginary Ontology and the Theoretical Construction in Zong Bin's Preface for Landscape Painting |
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| Cai Yanfeng.Hui Yuan's Imaginary Ontology and the Theoretical Construction in Zong Bin's Preface for Landscape Painting[J].Journal of Chinese Language and Culture School Nanjing Normal University,2011(2):119-124. |
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| Authors: | Cai Yanfeng |
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| Institution: | Cai Yanfeng |
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| Abstract: | Zong Bin＇s Preface for Landscape Painting is an important theoretic work about landscape painting in the history of Chinese art.Scholars have deeply discussed various theoretic propositions in this book.However,how could Zong Bin have constructed such a systematic theory of landscape painting when the creation of Chinese traditional landscape painting had not yet matured？ This phenomenon has hardly been touched upon.Hui Yuan＇s ＂imaginary ontology＂ which emphasizes the esthetic comprehension of noumenon by means of images,provided the theoretic foundation for the construction of the theory of landscape painting.Zong Bin followed Hui Yuan and accepted his ＂imaginary ontology＂.This was the innate reason of the perspectiveness in his Preface for Landscape Painting. |
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| Keywords: | imaginary ontology esthetic objects of mountains and rivers Preface for Landscape Painting theory of landscape painting |
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