中国山水画“高远”审美之文化探源

Cultural Source of High and Far Aesthetics in Chinese Landscape Painting

在中国山水画发生发展过程中,"高远"一直占有着重要地位,它不仅是一种技法理论,还是美的追求。"高远"审美一方面决定着中国山水画的视觉空间结构,一方面让山水画意境审美落在实处。"高远"审美的形成有其复杂的文化基础,分析探讨这些因素,对领会、把握中国山水画的审美趣味很有禆益。基于这样的认识,文章不仅梳理了"高远"审美追求的形成过程,还着重探讨了"高远"审美的文化源头,认为这一特殊追求与中国山水画的来源背景、中国古代建筑风水理论中的"形势"观念、以及"诗画一律"意识等有关。

In the course of advancement of Chinese landscape painting, ＂high and far＂ is not only a technical theory, but also an aesthetic pursuit. ＂High and far＂ aesthetics decides the visual space structure of Chinese landscape paint- ing on one hand, and it actualizes the aesthetics of landscape painting. ＂ High and far＂ aesthetics generated from a complex cultural base. And to analyze and explore such factors will help us a lot to better comprehend and understand the aesthetic taste of Chinese landscape painting. In this paper, I review the generation course of ＂high and far＂ aes- thetics, and explore the cultural source of such aesthetics. In my opinion, such kind of aesthetic pursuit is relevant to the background of Chinese landscape painting and momentum concept in ancient Chinese architecture geomancy theory and consciousness that poetry and painting are similar.