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顾恺之的传神论作为中国画的一个基本理论,一直深刻影响着中国画的发展,被历代美术史家所重视。本文试就魏晋时期顾恺之传神论的形成与玄学之间的关系,作一初步探讨。 东汉中叶以后,社会矛盾激化,战乱频仍。汉朝所竭力宣扬的儒家王道同汉末的腐朽政治和残酷现实形成了强烈的对比,曾经是社会统一思想的儒学面临着土崩瓦解的危机。而道家思想对人世黑暗和人生苦痛的批判与超越,对个体自由的追求,恰好符合亲历战乱与动荡的门阀世族的心理,于是以老庄学说为核心的玄学兴起了。
As a basic theory of Chinese painting, Gu Kai-zhi’s deism has profoundly influenced the development of Chinese painting and has been valued by art historians of all ages. This article tries to make a preliminary discussion on the relationship between the formation of Gu Kai’s deism and the Metaphysics in the Wei and Jin Dynasties. After the middle Han Eastern Han Dynasty, the social conflicts intensified and the war was frequent. The Confucianism which the Han dynasty endeavored to promote was in stark contrast to the decadent politics and brutal realities of the late Han Dynasty. Confucianism, once the social unification, faced a crisis of collapse. The criticism and transcendence of Taoism on the worldly worldly life and the pain of life and the pursuit of individual liberty coincided with the psychology of the family of dependents who had witnessed the war and turmoil. Thus the metaphysics centered on the theory of Laozi and Zhuangzi rose.