景观概念在魏晋的起源

发布时间：2018-06-18 12:06

  本文选题：“山水” + “风景”　； 参考：《南京艺术学院学报(美术与设计)》2017年05期

【摘要】：在不同时期和不同区域,对爱的艺术表达存在极大差异。在古典艺术中,肯定古典艺术的美,但是关注更为普遍和广泛的真实,渲染出不同程度的痛感,新柏拉图主义更是强调艺术形象在何种程度上折射出灵魂的痛苦。在基督教艺术中,爱、痛感,在强烈的感性形象中保持着崇高情怀,是基督教对源自希腊文化的西方艺术传统的极大丰富。缘心感物,则是中国古代艺术和美学最重要的命题。在心与物的对流中产生意象的恍惚,这在本质上是一种以愉悦为目的的审美活动,体现出乐感气息。中西方艺术的表现性因素及其精神依据各有特色,而真正的可比之处在于谁能否跟随时代的进程转化出新的、富于生命的形式。
[Abstract]:In different periods and different regions, there are great differences in the artistic expression of love. In classical art, the beauty of classical art is affirmed, but attention is paid to the more universal and widespread truth, and the feeling of pain is rendered to different degrees. Neo-Platonism emphasizes the extent to which artistic images reflect the suffering of the soul. In Christian art, love, pain and sublime feelings remain in the strong perceptual image, which is a great enrichment of the western art tradition originated from Greek culture. It is the most important proposition of ancient Chinese art and aesthetics. The trance of image in the convection of mind and object is essentially a kind of aesthetic activity aiming at pleasure, which embodies the sense of music. The expressive factors and their spiritual basis of Chinese and Western art have their own characteristics, but the real comparison lies in who can follow the process of the times to transform into new, life-rich forms.
【作者单位】： 浙江师范大学美术学院;
【分类号】：J212
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本文编号：2035426