| 六朝书画“风骨论”的确立及其美学内涵 |
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| 引用本文： | 范立红.六朝书画“风骨论”的确立及其美学内涵[J].毕节学院学报,2010,28(10):62-65. |
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| 作者姓名： | 范立红 |
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| 作者单位： | 毕节学院中文系,贵州毕节,551700 |
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| 摘 要： | 六朝书画"风骨论"是在魏晋以来强调文学、艺术作为作家"情性"的外化并因此可以成为其生命价值的体现的文化环境中得以确立的。在这一时期,随着人们审美意识的加强,对于书画、文学的要求不再停留在功用价值方面,"风神骨气"被移用到书画评论领域而成为了人们对于书画创作的一般审美要求。
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| 关 键 词： | 风骨论 六朝 书画 美学内涵 |
The Six Dynasties Calligraphy and Painting Fenggu Concept Formation and Aesthetical Implication |
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| FAN Li-hong.The Six Dynasties Calligraphy and Painting Fenggu Concept Formation and Aesthetical Implication[J].Journal of Bijie University,2010,28(10):62-65. |
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| Authors: | FAN Li-hong |
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| Institution: | FAN Li-hong (Chinese Department of Bijie University,Bijie,Guizhou 551700,China) |
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| Abstract: | The six dynasties calligraphy and painting fenggu concept has been established in the cultural context of Wei and Jin when thinkers stressed that literature is outer representation of natural instincts and thus literature is outer representation of life-value. In the same era, with the enforcement of people’ s aesthetical consciousness, the desire for painting and calligraphy and literature is no longer limited to the aspect of utility value, and "Feng Gu" became general aesthetical desire for works of painting and calligraphy in the field of painting and calligraphy. |
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| Keywords: | Fenggu Concept Six Dynasties Aesthetical Implication Painting and Calligraphy |
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