中西方山水风景画创作中“心物交互”思维比较——以范宽山水国画和柯罗风景油画为例

The Comparison of the Thoughts and Invention between Chinese Landscape Paintings and Western Scenery Paintings——Take Kuan Fan's Chinese Landscape Paintings and Corot's Scenery Paintings as Examples

山水风景画既是自然景观的呈现,也是画家的心境之物。中西方画家在创作中都讲究"物化于心"与"心物交互",乃至"因心造境",具有相通、相契之处。然而,由于文化传统与宗教信仰的不同,中西方山水风景画家在处理主观与客观、心与物、情与景之间的具体关系时,存有较为明显的思维差异,具体表现在创作理念、造型手段和空间处理等方面。相通之处与差异特点都可以从范宽的《溪山行旅图》和柯罗的《孟特芳丹的回忆》中得到印证与启发。

Landscape Paintings is not only the presence of natural landscape, but also the production of the painters ＂subjective thinking. Chinese and western painters have a tacit understanding in some ways because both of them pay great attention to the internalization of objective things, the interplay of subjective thoughts and objective things, and the influence of mental state toward the environment in their creation. However, they differ greatly when dealing with the relationships between subjectivity and objectivity, internal thoughts and objective things, as well as emotion and scenery, which are embodied in their creative concepts, means of modeling and shape handling techniques, due to different cultural traditions and religious belief. Both the parallels and differences can be elaborated and illuminated in Kuan Fan＇s ＂Mountain and Brook Traveler Picture＂and Corot＇s＂ souvenir de mortefontaine＂.