| 宗炳绘画理论来源小议 |
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| 引用本文： | 崔迎春.宗炳绘画理论来源小议[J].阴山学刊,2003,16(6):37-39. |
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| 作者姓名： | 崔迎春 |
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| 作者单位： | 内蒙古科技大学艺术学院 内蒙古 |
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| 摘 要： | 宗炳绘画理论是道佛相融的思想。自魏晋以来,统一政权瓦解,战争不断,佛教被迅速传播并与 道教互相影响、互相吸收,成为宗炳绘画理论产生的思想根源和社会根源。他的思想在其著作《画山水序》中 得以充分的体现。他的道佛相融思想对后世绘画反理论都产生了深远的影响。
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| 关 键 词： | 宗炳 道教 佛教 绘画理论 |
| 文章编号： | 1004-1869(2003)06-0037-03 |
| 修稿时间： | 2003年5月29日 |
A Research into the Origin of Zong Bing's Painting Theory |
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| CUI Ying - chun.A Research into the Origin of Zong Bing''''s Painting Theory[J].Yin Shan Academic Journal,2003,16(6):37-39. |
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| Authors: | CUI Ying - chun |
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| Abstract: | Zong Bing's theory of painting was mentally related with Taoism and Buddhism, which made great influence on the painting and painting theories in latter ages. In Wei and Jin Dynasty when the united regime collapsed and wars broke out here and there, Buddhism spread over quickly and was integrated with Taoism, which became the ideological and social origin of Zong Bing s painting theory, and such thinking were reflected in Foreword of Drawing Mountain and Water. |
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| Keywords: | Zong Bing Taoism Buddhism painting theory |
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