论中国古代绘画的重“神”思想

ON THE EMPHASIS OF "SPIRIT" IN ANCIENT CHINESE PAINTING

中国古代绘画重“神”思想可分为三个阶段:苏轼的文人画形神论开其端,汤垕的“写意”说和倪瓒的“逸气”和“逸笔”说发展之,石涛的“神遇迹化”论和“不似之似似之”论为其巅峰。

The emphasis of ＂spirlt＂ in ancient Chinese painting can be divided into three periods： the initial period of Su Shi＇s theory of ＂appearance and spirit＂ of literati paintings, the developing period of Tang Hou＇s theory of ＂freehand brushwork＂ and Ni Zan＇s theory of ＂ease of brush＂ and ＂ease of manner＂, and the peak of Shi Tao＇ s theory of ＂interactlon between the artist＇ s heart and nature＇ s spirit＂ and ＂the resemblance of non-resemblance＂.