返回总库    

中图法分类

中国古代书法艺术史

作者: 张志和
出版日期:2015-09-01
浏览次数:3502次
简介: 自民国以来,书法史著已经出版不少,甚至不乏大部头的著作。但本书有自己的特点:一、本书作者是一位长期从事书法研究, 并在书法艺术上颇有造诣的学者型书法家,所以,本书做到了理论与实践相结合、学识与艺术相结合,这与不从事书法实践的纯学者谈书法史是大不相同的。二、本书作者长期受教于启功先生,故本书也贯穿了启功先生对于书法艺术的真知灼见。三、作者具有在故宫博物院从事书法文献研究的独特优势,本书不仅搜集了大量的文献资料,也收集了大量图片资料,图片丰富,便于读者直观了解书法艺术发展脉络。四、以往的书法史,在“史”的叙述上多有缺憾,相对于东晋的十六国时期、辽代和金代的书法介绍多付阙如,本书作者对此作了深刻挖掘,尽量做到叙述完整。五、以往的书法史,大多只作“史” 的介绍,本书则对汉代以后各个历史时期的书法理论辟专章介绍,使读者便于了解书法观念、时代风气与书法创作之间的关系。六、本书学术性与知识性并重,力求对书法爱好者学习和理解书法艺术有所助益,并为书法史研究者提供新内容和新观点,是高校书法教学以及相关专业师生的重要参考书。
关键词: 汉字  书法史  中国  古代  

梵语唐言:从土山湾画馆到辅仁画派的艺术实践:1583—1941

作者: 姚鹏 陶建平
出版日期:2020-01-01
浏览次数:19次
简介: 11梵语唐言从土山湾画馆到辅仁画派的艺术实践1583—1941南宋陆象山先生曰:「东海有圣人出焉,此心同也,此理同也;西海有圣人出焉,此心同也,此理同也。」1利玛窦(Matteo Ricci,1552—1610),意大利人,字西泰,又字清泰、西江,中文古籍常尊称其为利先生;1571年加入耶稣会,1580年晋铎。利玛窦于万历十年(1582)抵澳门,次年随罗明坚6468893神父到肇庆。万历二十八年(1600)他带着准备好献给皇帝的礼物,由庞迪我神父陪伴,搭乘一位太监的船,航海北上。行至山东,某巡抚公子,利玛窦南京旧识,接迎款待。舟行至临清,督税太监马堂,贪馋贡品,诬其邪术。利玛窦不肯反棹南归,身陷囹圄。随行写信给京城故友疏通,六月后获释。据称万历二十九年(1601)利玛窦是乘御赐马匹抵京的。利玛窦呈万历皇帝奏折:西洋陪臣利玛窦,谨奏为贡献土物事。臣本国极远,从来贡献所不通。逖闻天朝声教文物,窃欲沾被其余,终身为氓,庶不虚生。用是辞离本国,航海而来,时历三年,经八万余里,始达广东。缘音译未通,有同喑哑。僦居学习言语文字,淹留肇庆、韶州二府十五年,颇知中国古圣先贤之学。于凡经籍,亦略诵记,粗
关键词: 绘画史  中国  1583-1941  

中国文人画与禅宗思想关系性研究——从明末清初到民国的脉络梳理

作者: 杨江波
出版日期:2020-01-01
浏览次数:4次
简介: 禅宗由印度禅演化为中国禅,是一个外域文化本土化的过程。由于中国文人士大夫具有“追道”这一文化身份特征,伴随着魏晋审美自觉,禅宗的审美境界也深深影响到这一群体。文人画的始祖王维即是生活在禅宗成熟兴盛的唐代。文人对于生命的感发感悟,随着笔墨这一载体用诗化的形式加以彰显,并由此而特立于世界艺术之林。晚明以降,随着西方地理大发现,全球化进程开始。在这一时间段,中国文人画的进程产生了三次高潮,其中有两次是发生在易代之时,政治上的动荡反而把文化推向了一个高度。但是,文人画在明清达到高峰之后,随着西方文化的强势介入和文人画末流所产生的弊端,它的衰落也是必然的。它的兴起衰落和禅宗思想文化的演变关系又是怎样?文人画衰落后,其作为核心审美思想的禅宗又是怎样存续的?中国文化演进历史漫长,期间禅宗文化在唐宋达到高潮,但随后逐渐衰落,理学和心学兴起,三教合一也使得禅宗在作为独立教派方面衰落下来,但是禅宗精神却由于其圆融清净的审美高度而融入了中国文化的方方方面。这种暗流潜藏的存续途径有以下几条:(1)儒禅的演化与影响;(2)潘天寿对于传统教学的坚持;(3)近代留学生在日本所受的影响;(4)画僧体系的禅意留存。禅宗思想在这些途径的存续使得它在后期发展的兴起也成为必然。当下全球经济一体化,西方工业革命在把物质文明带给东方的同时也把其弊端抛了过来,不但在工业上,在文化上它们也面临着自身不能克服的瓶颈。铃木大拙和铃木俊隆两位日本禅者在欧美结合西方文化来传播禅宗思想产生了很好的影响,后现代主义应运而生。后现代主义虽然对禅法的理解是西式的,并不完全符合禅宗的本意,但西方借助禅宗理念涅磐重生的决心是可以感受得到的。在这个信息交流极为畅通的互联网时代,东西方文化在矛盾对抗中而逐渐互鉴交融,这种交融并不是两大审美体系特征的泯灭,而是长短互补,即如费孝通先生所讲:各美其美,美美与共。禅宗思想注重本体感悟,是无分别的清净文化,这种“不分别”的审美状态可以在本体层面与西方文明“美美与共”,“和而不同”的多元化相处方式会产生东西方文化良性互动。西方文化对于禅宗思想亦愈来愈感兴趣,如美国著名斯坦福大学设有禅修中心,中国禅师们也越来越多地走向国外传法。作为中国画来讲,在近现代深受西方影响做了诸多探索之后,也在逐渐沉静了下来,开始在审美领域追根溯源,注重在民族审美层面的深入探索。这两年,中国美术馆举办的“黄宾虹美术大展”“潘天寿美术大展”以及故宫博物院举办的“四僧画展”都在社会上引起了很大反响,这些可以看作是传统审美重新崛起的标志性事件,禅宗思想作为传统审美重要的内核在当下研究也具有了重要的意义。关键词:禅宗,文人,存续,清净,自信AbstractThe evolution of Indian Zen Buddhism to Chinese Zen Buddhism is a process of the domestication of foreign cultures.Because of the fact that Chinese scholar-bureaucrats enjoyed the cultural identity of“following religions”,the aesthetic state of the Zen had deeply influenced the group of scholar-bureaucrats with the aesthetics of the Wei and the Jin Dynasties.The founder of the Painting of Man-of-letters,Wang Wei,lived in the Tang Dynasty when the Zen Buddhism was at its prime and prosperity.The perceptions and inspirations of men-of-letters were manifested through the form of painting,and have been since featured among the world of arts.Since the late Ming Dynasty the process of globalization began with the great geographical discovery in the West.During this period,the Chinese Painting of Man-of-letters experienced three times of climaxes among which two took place at the time of the change of dynasties when the political upheavals pushed culture to the height.However,with the aggressive entry of Western cultures and the disadvantages caused by the decadent stage of the Painting of Man-of-letters,its decline was inevitable.What is the evolutionary relation between the prosperity and decline of the Painting of Man-of-letters and the Zen Buddhism philosophy and culture? How did the Zen Buddhism continue as the core aesthetic philosophy of the Painting of Man-of-letters after its decline? Chinese culture has a long history of evolution,during which the Zen Buddhism reached the climax and then declined when the Ra tionalistic Confucian Philosophy and the School of Mind went to their primes.The combination of Buddhism,Taoism and Confucianism led to the decline of the Zen Buddhism as an independent religion.However,the spirits of Zen Buddhism were immersed to the different aspects of Chinese culture because of the aesthetic level of its purity and harmony.The ways of its lurking undercurrent continuance are as follows:1.The evolution and influence of Confucian Zen Buddhism;2.Pan Tianshou' s perseverance to the traditional teaching of painting; 3.The influence experienced by the overseas Chinese students in Japan,and 4.The existence of the Zen with the Painting Monks System.The continuance of the Zen Buddhism philosophy in these ways made its prosperity in the later development inevitable.Nowadays with the economic globalization,the Western Industrial Revolution brought forth to the East not only the material civilization,but also disadvantages both in industry,and in culture where they have their own invincible bottleneck.The two Japanese Zen masters Daisetz Suzuki and Shunryu Suzuki made great contributions in spreading the philosophies of Zen philosophies by combining them with European and American cultures,where the post-modernism emerged as the times required.The post-modernism had its understanding of Zen in the western way,which is not completely in line with the philosophies of Zen Buddhism.However,the determination to be reborn by the Zen Buddhism in the West can still be felt.In this information age when the East and the West cultures exchanged and immersed with each other through conflicts,the immersion of these two is not the distinction of the features of the two different aesthetic systems.Instead,it reflects the complementation of the two,as what Mr.Fei Xiaotong described as the existence of the differences but harmonies of various beauties.The Zen Buddhism focuses on the comprehension of noumenon and therefore it is an indistinct culture of purity.This indistinct aesthetic state leads to the positive mutual effects between the Eastern and Western cultures during the process of the diversified coexistence of Zen Buddhism and Western civilization.The Western civilization has more and more interest in Zen Buddhism philosophies and more Chinese Zen masters began to spread the philosophies outside China.For example,Stanford University of the U.S.has its own Meditation Center.As far as Chinese painting is concerned,it had made many explorations under the influence of the West in modern and contemporary times,and has settled down to seek the origin in the aesthetics field and focuses on deeper explorations at the national aesthetic levels.In the past two years,the Great Art Exhibition of Huang Binhong,the Great Art Exhibition of Pan Tianshou by the National Art Museum of China,and the Art Exhibition by the Four Monks held by the Palace Museum have given rise to great influence in society,and these events can be considered as a symbol of the resurgence of traditional aesthetics,and as a result,the study of Zen Buddhism as the core of traditional aesthetics has been of great importance in current days.Key Words: ZenBuddhism,Man-of-letters,Continuance,Purity,Self-confidence
关键词: 文人画  绘画研究  中国  明清时代  禅宗  

張丙煐文集

作者:
出版日期:2019-05-01
浏览次数:291次
简介: 張丙煐(一七九四——八四八),字雲艎,號虎頭,清代河南寳豐(今平頂山市湛河區曹鎮鄉五虎劉村)人,晚清詩人、書畫家。著有《觀兩齋詩鈔》《晚翠軒筆記》《姚江年譜》《肄武雜說》《華萼詩集》《梨花槍譜》等,另有評點朝鮮友人詩稿鈔本現存朝鮮國家圖書館。《觀兩齋詩鈔》《晚翠軒筆記》全面記錄了張丙煐關於書畫評論、鑒賞、收藏、書畫理論探討以及詩歌創作等方面的重要内容,《姚江年譜》系張丙煐為明代著名哲學家王陽明所纂年譜,《肄武雜說》綜述多家之說提出一系列習武思想與理念。這些著作具有重要的文化價值和研究意義。經過多方調查,全面收羅張丙煐現存文獻,整理出版《張丙煐文集》,希望能為張丙煐研究提供一套翔實可靠的基礎性資料。
关键词: 古典詩歌  書畫藝術  詩集  藝術評論  中國  清代  古代  文集  

南宋淳熙四家的诗歌与书法

作者: 路薇
出版日期:2019-03-01
浏览次数:491次
简介: 《南宋淳熙四家的诗歌与书法》对南宋淳熙四家陆游、范成大、朱熹、张孝祥的诗歌与书法进行综合研究。淳熙四家作为在宋室南渡后成长起来的一批文人、书法家,他们诗歌及书法的创作成就、艺术风格、思想理论等均与作者的学识、阅历、性格、艺术修养密切相关,且呈现出与历史文化背景、文艺审美思潮等因素相依相成的时代性特点。本书重点关注南宋淳熙四家诗歌与书法交融会通的思想艺术,时人及后世不同角度的评价和论述,对淳熙四家诗歌与书法进行多维度、多方面的综合分析,研究创作主体丰富的内在精神世界,探析其诗歌与书法共通的艺术情感和审美意蕴。
关键词: 古典诗歌  汉字  诗歌评论  书法评论  中国  南宋  

绘画人类学

作者: 庄孔韶
出版日期:2019-01-01
浏览次数:159次
简介: 这是首次以绘画人类学为书名的学术论文与绘画合集。前半部为中外著名学者最新论文集锦,后半部展现以中国云南省“虎日”盟誓仪式戒毒为中心的人类学绘画系列,兼及德国、法国、刚果(金)等多国人类学画作。并向读者透露了穿插其间的电影、诗学、哲学、表演、隐喻、互动和新媒体等的多学科、多专业和多方法的横向学术研究实验,以及寻找触类旁通之综观的学术初心。
关键词: 绘画  关系  人类学  

中国画的易学思想

作者: 周利明
出版日期:2019-01-01
浏览次数:22次
简介: 中国画造型与《易》象同体,与造化同根,其出发点在“道”而不在“器”;生、气、时、变,既是易学的要旨,又为笔墨之要义。中国画讲究的“神、意、象、感、观、位”等问题,都滥筋于《周易》对天地、宇宙、生命、万物规律的哲学阐释。国画源于国学,易学作为国学核心,是中国画传承与创新的原动力,对厘清中国画本体语言、指导中国画品评标准、影响中国画创作走向,都有着重要意义。
关键词: 中国画  绘画研究  

从王维到范宽:终南山与唐宋山水画的演变

作者: 王陆健
出版日期:2019-01-01
浏览次数:96次
简介: 唐宋之际,山水画演变成南北两种不同的画风,写真熟悉的山水。作为孕育这两种画派的源头,终南山为中国画形式与内涵的演变做了历史性的铺垫,它是山水画的精神家园。本书以唐代王维、北宋范宽的传世和见于著录的山水作品为切入点,实地考察终南山的自然地貌与环境变迁,论述唐宋山水画的开拓与变革,探究终南山与山水画的密切关系。
关键词: 山水画  绘画研究  中国  唐宋时期  
上一页 1 23456下一页  第 /6页  跳转

版权所有:中国社会科学出版社 地址:北京西城区鼓楼西大街甲158号 邮编:100720

产品咨询:张老师 咨询电话:010-84083678 邮箱:95133307@qq.com

京ICP备05032912号-4