nav emailalert searchbtn searchbox tablepage yinyongbenwen piczone journalimg journalInfo journalinfonormal searchdiv searchzone qikanlogo popupnotification paper paperNew
2015, 02, v.42;No.171 147-150
魏晋自然观与“秀骨清像”
基金项目(Foundation):
邮箱(Email):
DOI: 10.16366/j.cnki.1000-2359.2015.02.021
发布时间: 2015-03-10
出版时间: 2015-03-10
移动端阅读
摘要:

魏晋六朝时期美学的重大突破之一,便是实现了自然的人格与自然的审美态度相统一。对自然的人格的追求与熔塑,促成了士人对"秀骨清像"的追捧,对自然美的热衷形成了魏晋所特有的新自然观。这既促进了山水美学的繁荣,又带来了文学、书画艺术清新脱俗的新面貌,并且对整个中国传统艺术的发展走向及审美标准的确立都产生了深远的影响。

Abstract:

One of the major breakthroughs in aesthetics in Six Dynasties period is to achieve a unity of natural personality and aesthetic attitude.Pursuit and melt of natural personality contributed to Scholars' elegant skeleton and delicate feature.The pursuit of natural beauty formed unique and new natural view in Wei Jin Dynasties.On the one hand,it didn't only promote the prosperity of Landscape aesthetics and also bring a literary,artistic painting delightful new look.On the other hand,it had a profound impact on the development of traditional Chinese art and the establishment of the whole aesthetic standards.

参考文献

[1]袁济喜.自然的人格与自然的美学——魏晋南北朝美学札记[J].福建论坛,1986(2).

[2]张彦远.历代名画记[M].北京:人民美术出版社,1963:150.

[3]陈传席.论骨秀[J].美术,1996(9).

[4]王充.论衡[M].上海:上海人民出版社,1974.

[5]刘义庆.世说新语笺疏[M].上海:上海古籍出版社,1993:156.

[6]陈传席.六朝画论研究[M].天津:天津人民美术出版社,2006:181.

[7]陈鼓应.老子今注今译[M].北京:商务印书馆,2003.

[8]郭庆藩.庄子集释[M].北京:中华书局,1961.

[9]李泽厚.美学三书[M].合肥:安徽文艺出版社,1999:96.

[10]房玄龄.晋书:阮籍传[M].北京:中华书局,1974.

[11]叶朗.中国美学史大纲[M].上海:上海人民出版社,1985.

[12]司马迁.史记[M].北京:中华书局,1974.

[13]陈传席.中国山水画史[M].天津:天津人民美术出版社,2001:18.

[14]刘勰.文心雕龙[M].杭州:浙江古籍出版社,2011:69.

[15]李延寿.南史[M].北京:中华书局,1975:130.

基本信息:

DOI:10.16366/j.cnki.1000-2359.2015.02.021

中图分类号:B83-092

引用信息:

[1]张俊沛.魏晋自然观与“秀骨清像”[J].河南师范大学学报(哲学社会科学版),2015,42(02):147-150.DOI:10.16366/j.cnki.1000-2359.2015.02.021.

发布时间:

2015-03-10

出版时间:

2015-03-10

检 索 高级检索