素朴与华丽——唐代中原与西域绘画的碰撞与融合

Simplicity and Gorgeousness:Conflict and Fusion of Paintings of the Central Plains and the Western Regions in the Tang Dynasty

素朴作为一种审美观念和绘画风格,在中国古代美学史上具有重要意义。素朴美实际上是一种形式的简化与提纯,一种形式美的浓缩与积淀。它以简蕴繁,以素寓绚,从而较之铺锦列秀、富丽堂皇更耐人寻味。是以宗白华认为自魏晋六朝起,中国人的美感走到了一个新的方面,即认为"初发芙蓉"的素朴美比之于"错彩镂金"的华丽美是一种更高的美的境界。而唐代国力鼎盛,与西域交流频繁,西域的绘画艺术也一并引入到了中原地区。由碰撞到融合,西域绘画对中原地区以汉文化为主的绘画艺术产生了广泛而深远的影响,丰富、充实和滋养了中国绘画,在中国古代绘画艺术史上留下了鲜明而深刻的印记。

As an aesthetic idea and a style of painting, simplicity is of great significance in the history of Chinese ancient aesthetics. The beauty of simplicity is actually a simplification and purification of form, and a concentration and accumulation of formal beauty. Characterized by depicting complex and splendid things in a simple and plain way, it is more thought-provoking than magnificence. Therefore, Zong Baihua thinks that, beginning from the Wei Jin and Six dynasties, the aesthetic perception of the Chinese developed to a new aspect, according to which the beauty of simplicity is higher than the beauty of gorgeousness. As a result of the frequent exchanges between the Tang Dynasty which had a solid national strength and the Western Regions, the art of painting of the Western Regions was introduced to the Central Plains. From conflict to fusion, the painting of the Western Regions exercised an extensive and fur-reaching influence on the art of painting mainly of the Han nationality in the Central Plains. It enriched and nourished Chinese painting and left a distinctive and profound impression in the history of ancient Chinese painting.