宋炳「画山水序」の特質

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  • Two Characteristics of Sung-Ping's Preface to the Landscape Paintings

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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.

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