“象思维”对魏晋南北朝时期山水画的影响

The Influence of“Image Thinking”on the Landscape Painting in the Wei,Jin,Southern and Northern Dynasties

“象思维”对魏晋南北朝时期美学思想产生有着重要影响,形成了“虚静”“有无”等言意象观念,这些观念通过“六法”等绘画技巧呈现在山水画中,建立起“象思维”与魏晋南北朝山水画之间的关联。在这个过程中,魏晋南北朝绘画审美突破“观物取象”对物象的浅层表达逐步向“言以明象”“象以尽意”的深层过渡和发展,建立起“意象”的审美观,并直接作用于魏晋南北朝山水画画论和审美意识的转向,对后代山水画的创作产生了重要影响。

“Image thinking”had an important influence on the aesthetic thought of the Wei,Jin,Southern and Northern dynasties,and formed the concept of“Empty silence”and“Have-not”.These concepts are presented in landscape painting through the“Six Methods”and other painting techniques,which established the relationship between“image thinking”and landscape painting in the Wei,Jin and Northern and Southern dynasties.In this process,the Wei,Jin and Northern and Southern dynasties broke through the shallow expression of“taking images by observing things”and gradually moved to the deep transition and development of“using words to reveal images”and“using images to do their best”.The establishment of the aesthetic concept“image”directly affected the diversion of the theory and aesthetic consciousness of landscape painting in Wei,and Jin,Southern and Northern dynasties,and had an important impact on the creation of landscape painting in later generations.