从“启祯崛起”到“道咸中兴”——黄宾虹审美观念中的“笔墨中心”

发布时间：2018-01-28 11:05

  本文关键词： 晚清民国 绘画审美观念 黄宾虹 “启祯崛起”　出处：《西南民族大学学报(人文社科版)》2017年03期 　论文类型：期刊论文

【摘要】："启祯诸贤"只是稍变"墨法",故称之为"崛起",进入清代之后,随着金石学的兴起,"道咸画家"不但在"墨法"上比"启祯诸贤"精到,更实现了"出帖入碑"的转变,故称之为"中兴"。应该说,这种绘画史观非常独特,其中所蕴藏的审美观念值得深究。董其昌和黄宾虹在审美观念上一脉相承,都是以笔墨为中心。黄宾虹的贡献主要在于梳理了董其昌之后的绘画史,并以"启祯崛起"和"道咸中兴"命名。以笔墨为中心的审美观在晚清民国画坛虽然只是一股潜流,却是不可否认的存在,没有过时,或许还将在新的文化环境中扮演重要的角色。
[Abstract]:"Qizhen Zhuxian" is only a slight change of "Mohist method", so it is called "rise". After entering the Qing Dynasty, with the rise of goldstone, "Taoist painter" is not only better than "Qizhen Zhuxian" in "Mohism". It also realized the change of "putting out the inscription into the monument", so it was called "ZTE". It should be said that this kind of painting historical view is very unique. Dong Qichang and Huang Binhong in the aesthetic concept of the same lineage, are centered on ink and pen. Huang Binhong's contribution mainly lies in combing the painting history after Dong Qichang. And named after "the rise of Qi Zhen" and "Tao Xian Zhonghing". The aesthetics centered on pen and ink in the painting world of the late Qing Dynasty and the Republic of China is an undeniable existence, not out of date. It may also play an important role in the new cultural environment.
【作者单位】： 四川大学艺术学院;
【分类号】：J212
【正文快照】： 一、缘起晚明在中国绘画史中非常重要,关注者很多,黄宾虹就是其中之一,1953年春天,九十高龄的他在《画学篇》中写道:启祯多士登t爏，

本文编号：1470579