北宋山水画中的形神观
段霄芸
河北大学 艺术学院, 河北 保定 071002
起止页码: 103--108页
DOI:
摘要：
北宋山水画以“形神兼备”为核心理念，展现了从写实到写意的艺术演变。“形”强调对自然景物的精细描绘和高度概括，通过删减与提炼传递自然的真实感与美感；“神”则注重意境营造与精神表达，体现画家对自然与人生的深刻感悟。郭熙在《林泉高致》所提出的艺术理论，为北宋画家的艺术创作提供理论基础。“形”与“神”的统一，不仅奠定了北宋山水画的艺术高度，也为后世提供了重要的创作范式和思想资源。
The Dialectics of Form and Spirituality in Northern Song Landscape Paintings
DUAN Xiaoyun
College of Art, Hebei University, Baoding, Hebei 071002, China
Abstract:
Northern Song landscape painting, with the core concept of “unity of form and spirit”, showcases the artistic evolution from realism to freehand brushwork. “Form” emphasizes the meticulous depiction and high abstraction of natural scenery, conveying the authenticity and beauty of nature through reduction and refinement. “Spirit”, on the other hand, focuses on the creation of artistic atmosphere and spiritual expression, reflecting the artist's profound insight into nature and life. Guo Xi’s artistic theory in Linquan Gaozhi provided a theoretical foundation for the artistic creation of Northern Song painters. The unity of “form” and “spirit” not only established the artistic peak of Northern Song landscape painting but also provided a crucial creative paradigm and intellectual resource for later generations.
收稿日期: 2025-1-10
基金项目:
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