作　　者： ;

机构地区： 暨南大学文学院

出　　处： 《暨南学报：哲学社会科学版》 2012年第12期96-102,159,共7页

摘　　要： "疏"和"野"在文学、艺术的领域中,有不同的美学意义。"野"的美学思想早在先秦时期就已萌芽,长期的发展中衍变出多种含义。疏野成为一个美学范畴,是在《二十四诗品》中单列一品,作为一种真率、自然的美学风格。"疏野"代表着一种与主流思潮、主流文化的疏离与悖逆。疏野不但包括了冲淡、疏旷的风格,也包括了质朴、不雕不饰之美。在不同朝代、流派和个人手中,对于疏野的理解有不同的美学倾向。书画论中的疏野,与逸品、荒寒的关系十分密切,指的是一种疏狂放诞的性情和超脱流俗的风格。 'Sparse'and 'Wild'in the literature and art,has a different aesthetic significance.The aesthetic idea of 'Wild'had bud as early as the Qin Dynasty,and had a variety of meanings in the evolution of long-term.'Sparse and Wild ' became a aesthetics category from the beginning of a separate product in the 'Twenty-four of Poetry',as an unaffected,natural aesthetic style.The style of 'Sparse and Wild'departs from the mainstream culture and thought.'Sparse and Wild'includes the style of insipid and sparse,simple and natural.In different dynasties,schools and persons,'Sparse and Wild'had different understanding.'Sparse and Wild'in the theory of painting has very close relationship of the 'Elegant Character','Wild and Cold',which is a mad temperament and unconventional style.

关 键 词： 疏野 二十四诗品 真率 逸品

领　　域： []