论作为中国传统绘画美学概念的“似”-艺术美学专业毕业论文.docx

Abs Abstract PAGE PAGE XI substantive characteristic of painting as the basic reason of why paintings can be paintings. This concept can be called as “Theories attaching importance to shape”. The second type lays emphasis on “vividness” and “charm”, which can be called as “Theories attaching importance to charm”. And the third type lies between the first and second type, emphasizing the importance of both “similarity in shape” and “vividness”. Problems of this type hold that without “similarity in shape”, there will be no “vividness”, and vice versa, and they can be called as “Theories attaching importance to both shape and charm”. Though attaching importance to “performance” is a powerful tradition in classical Chinese aesthetics, it is not the only one. Even when such theories as “charm”, “verve”, “meaning”, “flavor” were in their prime, there were still people insistently emphasizing “shape”, “likeliness” as well as “verisimilitude”. As a result, laying stress on “likeliness” and “realistic portrayal” is also a powerful tradition in classical Chinese aesthetics. “Similarity in shape” is not necessarily contradictory to “vividness”. “Charm” can also be produced when “similarity in shape” comes to an extremity. However, since “similarity in shape” has been the highest standard of painting for a long time, reflection of and reaction to it is extremely rational. Since human spirit is infinitely rich and complicated, there is infinite possibility in the art of expressing human spirit in theory. Though “similarity in shape” and “profoundness and subtlety of descriptions” are not necessarily in contradiction with “vividness” and “charm”, and the former two can also be “extraordinarily refines” as well as being capable of expressing the “likeliness”, certain spiritual states of human beings cannot be expressed without a breakthrough in “similarity in shape”, and certain emotional feelings of human beings cannot be expressed without “dissimilar likeliness”. Therefore,