宋炳「画山水序」の特質
スポンサーリンク
概要
- 論文の詳細を見る
Until the age of Liu-Sung (劉宋), hills and waters themselves had not become the subjects of pictures in the long course of the history of Chinese paintings. Sung-Ping's Preface to the Landscape Paintigg shows the fact better than anythins else. In this thesis, the present writer is concerned to treat characteristics of his theory mainly from the following two viewpoints. It is interesting to note, first, that he tried to imitate Nature exactly : (以形写形, 以色貌色). Sung-Ping says that he is able to depict the spirit of a landscape on his canvas. The assertion is, so far as the representation is concerned, in keeping with the fact that the concerns of his contemporary poets were to model skilfully after their objects, viz. Hsing-Ssu (形似) or Ch'iao-Ssu (巧似). Especially in Sung-Ping's assertion, it seems, his partiality of hills and waters had played a important part while it was conceived. Another characteristic to note is that his theory mentioned the sense of relief that the appreciation of such pictures gives the mind. In the term of Sung-Ping, it is called Ch'ang-Shen (暢神), and from this, it is clear how he was influenced by Buddhism. At the same time, it may be induced that, in this aspect of his, the thought of diverting or San-Huai (散壊) can be found intermingled, with which people of those days used to enjoy the scenery of hills and waters for the purpose of getting rid of melancholy in the mind.
- 中国中世文学会の論文
- 1968-08-30
中国中世文学会 | 論文
- プロットから読み解く漢詩の授業--李白「静夜思」
- 故事成語のコンテクスト--朝三暮四の授業
- 日本禅林における杜詩受容について : 中期禅林における杜甫画図賛詩に着目して(小尾郊一博士追悼特集)
- 学ぶこと・思うこと--『論語』の学習(中3)
- 詔令の文学性(その一) : 傅亮の場合