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| 文章编号：1672-3104(2011)01-0164-05 |
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试析荆浩在山水画艺术表现语言上的开创性 |
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蒋鑫 |
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（河南科技大学艺术与设计学院，河南洛阳，471003） |
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| 摘 要： 荆浩在中国山水画史上有着不可动摇的地位。他的作品《匡庐图》在表现语言和形式上相对前代的山水画有许多的创新点，他的著作《笔法记》总结出不少山水画创作独特的理论，对其后画家的创作和表现有巨大的借鉴意义。通过对《笔法记》及《匡庐图》的剖析，得出形似意义的“真”、气质意义的“真”、传神意义的“真”从荆浩开始已成为传统山水画艺术追求的较高境界。在具体的艺术实践中荆浩所采取的大山大水、笔墨恣肆对丰富山水画表现语言也有重要的开创意义。 |
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| 关键词： 山水画；荆浩；真；《匡庐图》；《笔法记》 |
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The groundbreaking of art language in
Chinese landscape painting by JingHao |
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JIANG Xin |
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（School of Art and Design, Science and Technology University of Henan, Luoyang471003, China） |
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| Abstract: Jinghao, who has the unshakeable position in the history of Chinese landscape painting. His is works painting of Lushan has a lot of innovations in language and form. Much of landscape painting unique theory was summed up in his book paint stroke records, which has a huge of references for the successor in creation and performance. From the study of paint stroke records and painting of Lushan, we can get the shape meaning of “truth”, temperament meaning of “truth” and vivid sense of the “truth”, which has become a higher realm in traditional landscape painting from Jinghao. In his art practice, the language of great mountains and river, relaxation ink and stroke also have a great significance in Chinese landscape painting. |
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Key words: Chinese landscape painting; JingHao; truth; <painting of Lushan>; <paint stroke records> |
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