“气韵生动”概念的历史流变

Historical Development of A Sense of Movement through Spirit-resonance

"气韵生动"这一艺术概念是中国古代绘画审美的最高标准,更是中国艺术的重要精神之一。后代文人与画家对其进行了纷繁多样的诠释,唐及五代时期重在这一美学概念在人物画上的显现,宋元时期则重其在山水画中的体现,及至明清"气韵生动"又与笔墨相联系,成为对笔墨技巧运用的一种规范。历代文人及学者在历史发展中不断地赋予"气韵生动"以新意,完成了"气韵生动"作为艺术概念的创造性演绎,在其中显示了中国绘画自身的历史特点演变以及中国古典艺术精神的发展规律。

As the concept of art, ＂ a sense of movement through spirit consonance＂ has become the highest standard of aesthetics of Chinese ancient painting,and also one of the important spirits of Chinese art. Offspring literati and painters interpret this concept variously,and they paid attention to this aesthetic concept＇s appearance of the figure painting in the Tang and Five Dynasty. In the Song and Yuan Dynasties,they paid attention to this concept＇s appearance of landscape painting,while in the Ming and Qing Dynasty, ＂ a sense of movement through spirit consonance＂ connected with pen and ink,and it became a criterion of the use of pen and ink techniques. In its historical development,literati and scholars of various dynasty gave this concept new meaning continuously. As the artistic conception,a sense of movement through spirit consonance completed the creative deduction,which shows the historical evolution characteristics of Chinese ancient painting itself and the law of development of the spirit of Chinese classical art.