摘要
恽寿平强调画意需求"远"。他认为个体能够通过对三重层层递进地穿越以"远"为核心的境界,实现与古人"近"距离接触的梦想。三重审美境界即荒寒之境:身体——行动的绝尘之远;简淡:视觉——精神的清高之远;幽游:魂魄——幻化的玄妙之远。达致"幽游"之境后,与古人同游一室的至美理想就能实现。
YUN Shou-ping thought highly of ＂remoteness＂ in paintings and he thought one could get in ＂close＂ touch with the ancients by passing through three-tiered aesthetic realms gradually with ＂remoteness＂ as the core. These three-tiered realms start from a state of bleakness to divorce from the actuality, and then move to a state of visual simplicity to pursue the spiritual aloofness, and finally reach a state of metaphysical imagination to achieve the supreme ideal of appreciating the ancients＇ aesthetics thoroughly.
出处
《新疆艺术学院学报》
2014年第4期44-47,共4页
Journal of Xinjiang Arts University
基金
2013年度教育部人文社会科学研究青年基金项目"一般艺术学视角下的清代艺术批评史研究"(13YJC760070)阶段性成果之一
关键词
南田画跋
简淡
荒寒
幽游
Nan-tian＇s Postscripts to Paintings
Simplicity
Bleakness
Metaphysical imagination
