论倪瓒绘画中的光明之境

On the Illuminous Image in Ni Zan's Paintings

倪瓒的山水画中的光明之境彰显了中国山水画所独有的审美化的生命空间,呈现出生命本然的存在。本文以先秦道家思想为源头,着重从庄子“以明”观中解读光明之境的审美内涵,并与海德格尔的艺术本源论中“去蔽”观汇通,揭示光明之境作为艺术真实的深层审美意蕴在于对生命本真的光明之境的呈现。当代,吴冠中绘画美学思想中对形式美的强调是对倪瓒绘画中光明意象的延展与艺术技法的提升。

The Illuminous Image in Ni Zan's Paintings highlights a unique aesthetic life space of Chinese landscape paintings and presents the existence of the restoring life consciousness to the reality.Based on the Taoist thought in the pre-Qin times,this article focuses on interpreting the aesthetic connotation of the Illuminous Image originated from Zhuangzi's concept of"Yi Ming".At the same time,this article connects this concept with the aesthetics of artistic origin theory in Hedegger's"Entbergen",revealing the Illuminous Image's deep pursuit of the authenticity of art lies in the presentation of the Illuminous Image and the essence of life.In contemporary times,the emphasis on Formal Beauty in Wu Guanzhong's Aesthetic Thought of Painting is the extension of the Illuminous Image and the promotion of artistic techniques in Nizan's painting.