从郭熙《林泉高致》看中国文人画的审美倾向

The High School of Lin Quan from Guo Xi shows the Aesthetic Tendency of Chinese Literati Painting

宋人文人画基本成熟于苏东坡。同时代的郭熙撰写《林泉高致集》,颇多倡言文人画观念。在画家的主体精神上倾向于林泉之志,洒然起物外烟霞之想;在文化修养上认同“诗是无形画,画是有形诗”,以清篇秀句之幽情美意会通画意,掇景于烟霞之表,发兴于溪山之颠,专设《画题》一章,阐述发兴重于掇景;在画格上,更加倾向于平远意趣,努力表达“平远之意冲融而缥缥缈缈”的诗意。郭熙以宫廷职业画家的身份推崇文人画,表明在北宋后期,文人画思想已成为绘画思潮的主流观念。

Song literati painting was basically mature in Su Dongpo.At the same time,Guo Xi wrote“Lin Quan Gao Collection”,which quite advocated the concept of literati painting.In the main spirit of the painter tends to Lin Quan ambition,scattered outside the thought of Yanxia,in the cultural cultivation of“poetry is invisible painting,painting is tangible poetry”,with clear story beautiful beauty,landscape in the chart,rise in the mountain,special chapter,elaborate the prosperity more than landscape,more inclined to express the meaning of“flat melting and ethereal”poetry.Guo Xi praised literati painting as a professional court painter,indicating that in In the late Northern Song Dynasty,literati painting thought has become the mainstream concept of painting ideological trend.