论宗炳、王微的山水画理论及其文化意蕴

On Zong Bing & Wang Wei’s Landscape Painting Theory and Its Cultural Implications

中国山水画作为独立的绘画形式,深受魏晋时期以老、庄思想为核心的玄学影响,以时人宗炳的《画山水序》和王微的《叙画》两篇山水画理论文献最为重要,他们提出了画山水就要写山水之神的自然美学观,倡导以形写神的创作方法,从而确立了山水画的艺术特质和审美取向。宗、王二人的山水画理论具有极其丰富的文化意蕴,不仅指导了古代山水画家的创作实践,对今天的山水画创作仍具有重要的现实意义。

Chinese landscape painting, an independent painting form,is greatly influenced by Dark Learning(a metaphysical sect in the Wei and Jin Dynasties that tried to integrate Taoism with Confucian doctrine). The two theoretical documents of the time, Preface to the Painting of Landscape by Zong Bing and Depiction of Painting by Wang Wei, are the most important ones of their kind. They put forward the natural aesthetic conception that the charm of landscape should be displayed in the painting of landscape. They advocated the ways to present the spirit through appearance. As a result, the landscape painting’s artistic quality and aesthetic orientation was established. Zong Bing and Wang Wei’s theory is rich in cultural implications,which has served as a guide as to the ancient landscape painters’practice. It is still of great realistic significance to the landscape painting today.