山水画求“真”的理论阐释及审美意义

Theoretical Interpretation and Aesthetic Significance of Landscape Painting for “Truth”

中国山水画艺术审美的根本在于求"真",这本来不是问题,但近年来艺术界对山水画的这个传统审美体系似乎开始陌生。本文就先从中国山水画求"真"的理论阐释入手,阐释"真"在山水画中的含义。并从前人观点中概括出山水画求"真"的三个路径,分三部分论述,即"真情""真景""真笔墨"。首先从"真情"的含义、"真情"的本体论、"真情"的功能论分别论述"真情"的审美意义和在艺术创作中的重要性。其次从"真景"之要义,探索"真景"的外之形美与内之质理相统一的路径及其理论阐释。再次从中国文化审美观的角度阐释"真笔墨"的内涵。最后论述中国山水画求"真"审美的文化内涵与意义。

It is not a problem to seek truth at the root of Chinese landscape art aesthetic, but in recent years the art world seems to have become unfamiliar with this traditional aesthetic system of landscape painting. This paper begins with the theoretical interpretation of Chinese landscape painting for"truth"and explains the meaning of "truth" in landscape painting. From the perspective of the predecessors, we summarize the three paths of mountain painting for "truth"and discuss them in three chapters, namely "true feelings", "true scenery"and "Real pen touch ink". The third chapter discusses the aesthetic significance and the importance of"true feelings"in artistic creation from the meaning of "true feelings", the ontology of"true feelings"and the functional theory of"true feelings". The fourth chapter discusses the meaning of the "real scene" and explores the path and theoretical interpretation of the unity of the external beauty and the inner quality of the"true scene". The fifth chapter explains the connotation of"Real pen touch ink"from the perspective of Chinese cultural aesthetics. Finally, it discusses the cultural connotation and significance of Chinese landscape painting seeking"true"aesthetics.