摘要
顾恺之《画云台山记》从画家创作的角度呈示晋宋时期关于道教"仙山"的想象与观看。云台山"神圣空间"的构建,视觉隐喻的表达,既是一种宗教体验,也是这一时期山水视觉审美意识的显影;宗炳《画山水序》、王微《叙画》等画论则在理论上展现山水审美观看意识与视觉美感的生成。考索陆机《文赋》、刘勰《文心雕龙》等文论,可知根源于道教的"存思内视"的山水审美想象与观看,最终如何转化为纯粹的文学思维与视觉审美观念。
Gu kaizhi s Records of Painting Yuntai Mountain shows the imagination and view of“fairy mountain”in Jin and Song dynasties from the perspective of artist s creation.The construction of“sacred space”of Yuntai Mountain,the expression of visual metaphor,is not only a religious experience,but also represents the visual consciousness of landscape viewing in that period.Zong bing s Landscape Painting Preface,Wang wei s Discussion on Painting and other painting theories represent the formation of landscape visual consciousness in theory.Lu Ji s Wen Fu and Liu Xie s Wen Xin Diao Long and other literary theories demonstrate how aesthetic imagination and view of landscape rooted in the Taoism s“introspective thinking”can be eventually transformed into a pure artistic thinking and visual aesthetic concept.
作者
岳进
YUE Jin(School of Humanities,Chang an University,Xi an 710064,China)
出处
《北京社会科学》
CSSCI
北大核心
2020年第6期83-96,共14页
Social Sciences of Beijing
基金
2019年教育部人文社会科学研究规划基金项目“文化画与明代诗学视觉审美观念研究”(19YJAZH105)。
关键词
道教
仙山
诗画
想象
Taoism
fairy mountain
poetry and paintings
imagination
