论“天人合一”图样之“真” ——以荆浩｢匡庐图｣为例

서지정보

ㆍ발행기관 : 대한중국학회 ㆍ수록지정보 : 中國學 / 85권
ㆍ저자명 : 田楚楚, 张庆丰

목차

1. 绪论
2. 道家“天人合一”思想——以老庄为例
3. 道家“天人合一”实现途径
4. 荆浩｢匡庐图｣中的“天人合一”之真
1）石头
2）松树
3) 点景人物
5. 结语
【参考文献】

영어 초록

Jing Hao, a famous theorist and painter in the late Tang and five dynasties, put forward the concept of “truth” in his Bi Fa Ji (筆法記, Notes On the Techniques of the Brush). “Truth” originated from Laozi and was developed by Zhuangzi and others. Although “truth” is an important category in Chinese aesthetics, the aesthetic connotation was not explained until the Tang Dynasty, and it was not explained and defined theoretically until Jing Hao’s Bi Fa Ji in the Five Dynasties, and “truth” was also clearly put forward in painting theory for the first time. “truth” is the artistic ideal pursued by Jing Hao, and the practice of “truth” is also confirmed everywhere in his works “Kuanglu Tu”. So what is the “truth” proposed by Jing Hao? How does his “truth” translate into his paintings? Is there a specific way or method for him to realize his “true” artistic ideal? This article mainly analyzes Jing Hao’s “truth” from the perspective of the Taoist “the unity of nature and man”(天人合一), and combines the stones, trees, and point characters in the Kuanglu Tu to analyze it specifically. Jing Hao’s “truth” is more about pursuing the realm of mutual birth between the heaven and earth spirit of man and nature, and the life of the universe. The main purpose of this article is to implement this mysterious concept and mysterious metaphysical category into concrete and perceptible painting patterns, so as to appreciate that the way to realize Jing Hao’s “truth” is “the unity of nature and man”.

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