中国传统山水画艺术中的“虚静”观念研究

发布时间：2018-05-05 01:26

本文选题：山水画 + “虚静”　；参考：《山东大学》2014年硕士论文

【摘要】：“虚静”作为中国传统哲学中的重要命题,在中华民族文化心灵中占有重要地位。中国传统“虚静”观念与“道”有着内在的紧密联系,它内涵于儒家、道家、佛家的思想之中,而最为道家所推重。传统山水画艺术中的“虚静”观念既与哲学中的“虚静”思想相通,又具有自身的特点。本文将探讨“虚静”观念的理论渊源,并联系哲学中“虚静”思想的内涵,对山水画艺术中“虚静”观念的特点进行阐述。并从山水画创作者的虚静修养,虚静心态与山水画创作的关系、山水画的“虚静”意趣三个方面具体探讨中国传统山水画艺术中的“虚静”观念。 “虚静”与“道”的关系是密不可分的。“虚静”既是古人修心养性的体道方式,又是“道”的境界本身所呈现出来的虚明静定的精神状态。中国传统山水画理论中的“虚静”具有虚以涵有、静以载动两个方面的特点。“虚静”心即道心,具有明觉性和通透性。这不仅赋予了创作主体敏锐的审美觉知力,而且使其性灵的涵养成为可能。“虚静”心所蕴涵的无穷生机,也为山水画艺术的创作提供了不竭的力量源泉。就山水画创作者的修养而言,首先,“虚静”心作为创作者“人品”高下的重要判断标准,对山水画格调之高下会造成根本性的影响。创作主体则可以通过多种方式的人生修养来提升自身的“虚静”品格。其次,隐逸情结对山水画艺术的生成和发展具有重要影响,山水学养也是创作者的重要修养之一。再次,创作主体对“技”的灵活运用、对“法”的学习以至最终能达到“无法”的创作境界也需要“虚静”心的保障。就创作而言,“虚静”心既是山水画创作的必要心境准备,与创作时机的生成关系密切,又内涵于山水画艺术的创作体验之中,不可或缺。就审美意趣而言,中国传统山水画具有“无我之境”的精神旨归和“淡”的审美韵致,同时其“反”、“远”的艺术特征也是对“虚静”心无限生机的活泼展现。 “虚静”思想体现在中国传统山水画的方方面面,是为古人所一再阐发的至为宝贵的精神财富。中国传统山水画艺术中的“虚静”观念当为现代山水画创作者所继承和发扬,并于新的时代开创出新的艺术境界。
[Abstract]:As an important proposition in Chinese traditional philosophy, "Xu Jing" plays an important role in Chinese culture and soul. The traditional concept of "empty and quiet" in China is closely related to "Tao", which contains the thoughts of Confucianism, Taoism and Buddhism, and is most important to Taoists. The concept of "empty quiet" in traditional landscape painting art is not only connected with the "empty static" thought in philosophy, but also has its own characteristics. This paper will discuss the theoretical origin of the concept of "virtual quiet" and, in connection with the connotation of the idea of "virtual quiet" in philosophy, expound the characteristics of the concept of "virtual quiet" in the art of landscape painting. This paper also discusses the concept of "empty quiet" in Chinese traditional landscape painting art from three aspects, namely, the author's self-cultivation, the relationship between the state of mind and the creation of landscape painting, and the interest of "virtual quiet" of landscape painting. The relationship between "Xu Jing" and "Tao" is inseparable. "Xu Jing" is not only the way of the ancients to cultivate and nourish nature, but also the spiritual state of the realm of "Tao". In the traditional Chinese landscape painting theory, "virtual static" has two characteristics: "virtual to contain" and "static to carry". The mind of vacuity and tranquility is the mind of Tao, which has the nature of understanding and permeability. This not only endows the creative subject with sharp aesthetic awareness, but also makes it possible to preserve the spirit. The infinite vitality contained in the mind of Xu Jing also provides an inexhaustible source of strength for the creation of landscape painting art. As far as the cultivation of landscape painting creators is concerned, firstly, as an important judgment standard of the creators'"character", the "Xu Jing" heart has a fundamental influence on the style of landscape painting. The creative subject can improve his "empty and quiet" character through various ways of life accomplishment. Secondly, seclusion complex has an important influence on the creation and development of landscape painting art. Thirdly, the creative subject's flexible application of "technique", the study of "law" and the ability to reach the "impossible" creative state also need the guarantee of "empty and quiet" mind. As far as creation is concerned, "Xu Jing" heart is not only the necessary state of mind preparation for landscape painting creation, but also closely related to the generation of creation opportunity, and also contains in the creative experience of landscape painting art, which is indispensable. As far as aesthetic interest is concerned, Chinese traditional landscape painting has the spiritual purport of "without oneself" and the aesthetic charm of "light". At the same time, the artistic characteristics of "counter" and "far" are also a lively display of infinite vitality of "empty quiet" heart. The thought of "Xu Jing" is embodied in all aspects of Chinese traditional landscape painting, and it is the most precious spiritual wealth explained by the ancients. The concept of "empty quiet" in Chinese traditional landscape painting art should be inherited and carried forward by modern landscape painting creators, and create a new artistic realm in the new era.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】