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本文以“扬州画派”闵贞的《醉仙图》为例,循道家文脉,以欣赏者主观创设的情境去解读画家及作品,在想象中把握图像的艺术认知。通过品读闵贞由心发蕴的有意味笔墨,提出并论证作者“以势驭形”的表现样式,分析其“意指”的隐喻性内涵,进而探究造型图式与审美心理之间生成展衍的多义性意象,尝试通过解释学为中国画的鉴赏寻找新的表述通道。
Taking “Yangzhou Painting School” and “Minzin’s Drunk Fairy Tale” as an example, this thesis traces the context of Taoism, interprets the painters and works through the scenario created by the audience subjectively, and grasps the artistic cognition of images in the imagination. Through reading Min Zhen ’s meaningful brushwork from the heart, this paper puts forward and argues the author ’ s “Expressing the form of the form” and analyzes the metaphorical connotation of the “meaning”, and then explores the relationship between the stylistic pattern and the aesthetic psychology The image of polysemy is generated, trying to find a new passage for the appreciation of Chinese painting through hermeneutics.