| 缘物寄情寓意于境 --我的山水画意境观 |
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| 引用本文： | 邱国鹏.缘物寄情寓意于境 --我的山水画意境观[J].三明学院学报,2001,18(1):93-95. |
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| 作者姓名： | 邱国鹏 |
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| 作者单位： | 三明高等专科学校,初教系,福建,三明,365004 |
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| 摘 要： | 意境作为中国画,尤其是山水画的灵魂是大多数画家都加以关注的.意是情与理的统一,境是形与神的统一,随着山水画的发展,意境也成了真假艺术品的分水岭.同时也作为山水画是否有生命力的一种象征.
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| 关 键 词： | 意境 创新 形与神 境界 |
| 文章编号： | 1671-1343(2001)01-0093-03 |
| 修稿时间： | 2001年3月7日 |
Making Paintings Magnificently Conceived by Putting Affections on the Objects --My outlok on Artistic conceptions |
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| QIU Guo-peng.Making Paintings Magnificently Conceived by Putting Affections on the Objects --My outlok on Artistic conceptions[J].Journal of Sanming University,2001,18(1):93-95. |
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| Authors: | QIU Guo-peng |
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| Abstract: | As the soul of the Chinese painting,especially the landscape painting,artistic conception is paid attention to by most of artists conception is a unity of emotion and rationality. With the development of the landscape painting,artistic conception has become not only the watershed of genuine work of art and counterfeit,but a symbol of vitality of the landscape painting. |
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| Keywords: | Atistic conception realm form and spirit emotion |
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