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| 禪心寫境:禪宗與宋元之際的山水畫轉型=Zen and the Transformation of Chinese Mountain-and-Water Painting During the Song and Yuan Dynasties | ||
| 著者 | 朱劍 (著)=Zhu Jian (au.) |
|---|---|
| 掲載誌 | 揚州大學學報 (人文社會科學版)=Journal of Yangzhou University (Humanities and Social Sciences Edition) |
| 巻号 | n.5 |
| 出版年月日 | 2011 |
| ページ | 54 - 61 |
| 出版者 | 揚州大學學報編輯部 |
| 出版サイト | http://www.yzu.edu.cn/index.htm |
| 出版地 | 揚州, 中國 [Yangchou, China] |
| 資料の種類 | 期刊論文=Journal Article |
| 言語 | 中文=Chinese |
| ノート | 作者單位：南京工業大學建築學院 |
| キーワード | 禪宗=Zen; 山水畫=Chinese mountain-and-water painting; 審美境界=aesthetic realm; 美術史=history of arts; 佛教藝術=Buddhist art |
| 抄録 | 宋元之際山水畫曾出現了一次重大的轉型。以禪宗影響為透視角度,分析此次山水畫轉型中的題材和審美境界問題,可以得出三點結論,即:描繪題材變得平淡;從真實靜謐的審美境界中拓展出虛幻靜寂的審美境界;強調畫家應通過創作行為體道并在此基礎上使畫面的真實感大大減弱。 A significant transformation happened to Chinese mountain-and-water painting around the Song and Yuan Dynasties.An analysis of the change in subject and aesthetic realm from the perspective of Zen reveals: First,the subjects turned far from the madding crowd.Second,the sense of actuality in the aesthetic realm tended to be replaced by virtuality.Third,it was emphasized that artists should conduct self-cultivation like a devout religious believer through their painting behaviour and reduce the sense of materiality in their paintings. |
| 目次 | 一、描繪題材的轉變 54 二、審美境界的拓展 56 三、主觀成分的加強 58 |
| ISSN | 10077030 (P) |
| ヒット数 | 37 |
| 作成日 | 2022.01.24 |
| 更新日期 | 2022.01.24 |
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