诗情与画境——倪瓒诗词绘画中的美学思想

Disposition of Poetry and Artistic Conception of Painting On Painting Aesthetics in Poetry of NI ZAN

中国古代文人山水画的顶峰是元代的倪瓒。倪瓒在诗歌上的成就也颇高,他的绘画美学思想在其诗歌中也有着丰富体现:画面多用一水两山式的构图,以追求神似为绘画的最高境界,并流露出静谧的禅宗韵味;其画多用简约的笔墨、简洁的构图以表现诗的意境。其"逸笔草草,聊写胸中逸气"的主张成为后世文人画形而上传统的关学指导。

NI ZAN in Yuan dynasty is the zenith of Chinese traditional literator drawing, and he is also very excellent in poetry. We can find out a lot of aesthetics thinking of NI ZAN in his poetry: there were one river and two hills in his composition design often. Spirit is his top persuasion in traditional Chinese painting , so there' s a quiet mood of ZEN in his painting . At the same time he expressed artistic conception of poetry in his simply drawing. His theory of drawing simply to tell my sentiments becomes superorganic aesthetic guidance of Chinese traditional literitor drawing.