无画处皆成妙境——述清代画学虚实观

中国古代绘画美学源远流长,在理论和实践两方面都有重要的价值.清代画学集前代之大成,著述既多,研讨亦深,且四通八达,自成体系.其中,虚实观念是一条主脉,既牵连着诸家要旨,也表达出清人对绘画艺术的理解以及对传统绘画美学思想的发扬光大.本文着眼于清代画学里虚实观念的来龙去脉、绘画理论批评的种种表述,及其在"道"与"技"的各个层面衍生出的概念和命题,借以对清代画学中的虚实观有一个完整把握,并由此领会中国传统绘画美学的精神和特色.

Blank Spaces Yield Exquisite Artistic Conception-On the Existence and Non-existence Conceptions in Chinese Painting Theory of Qing Dynasty

There is a long history in the process of the development of Chinese painting esthetics and there is both a theory and a practice value of its own.The painting school of Qing Dynasty which came as a culmination to the long painting history has risen up and lived out a systemic scheme,which spread to many branches of the studying of Chinese painting theory and left us a lot of anthologies.Among the discourses the history has passed down to us,the conception of XU and SHI is a magnificent clue which leads our comprehensions to a palace of the gist of a variety of painting schools.Meanwhile,in the ground of painting art itself,it is also an expression of the recognitions of the scholars of Qing Dynasty as well as a progress of the traditional painting esthetics.The main idea of this thesis is to abstract the true meaning of the spirit and feature of the Chinese painting esthetics from the pell-mell phenomenon.At the same time,we hope the whole meaning of the conception of XU and SHI of Chinese painting will emerge after your reading of our analysis of the glossaries of the painting history and the defines of painting ontology and painting skill.