素朴与华丽——唐代中原与西域绘画的碰撞与融合

Simplicity and Gorgeousness: Collision and Merging of the Painting of the Central Plains and That of 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。

Simplicity, as an aesthetic concept and a painting style, is of great significance in the history of China＇s ancient aesthetics. Beauty of simplicity is actually simplification and purification of form, and concentration and sediment of formal beauty. With complicatedness contained in simplicity and gorgeousness in plainness, it is more thought-provoking than gorgeousness and magnificence. Zong Baihua is of the view that since the Wei and the Jin Dynasties, aesthetic appreciation of the Chinese people has developed into a new aspect, i.e., regarding the beauty of simplicity higher than that of gorgeousness. As the Tang Dynasty had solid national strength and frequent exchanges with the Western Regions, the painting of the Western Regions was also introduced to the Central Plains. Experiencing the process of collision and merging, the painting of the Western Regions had a broad and far-reaching impact on the painting art, dominated by Han culture, of the Central Plains. Having enriched, supplemented, and nourished Chinese painting, it has left a clear and incisive mark on the history of China＇s ancient painting.