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王国维《人间词话》第36则至41则主要讲述了“隔”与“不隔”的批评尺度。这种“隔”与“不隔”在文学理论批评史上具有重要的意义。同时其作为一种美学特征,对当代油画创作也有着深刻的指导意义。本文将通过对当代中国油画中“隔”与“不隔”两种典型的案例加以分析,总结这种美学特征的两个方面的不同审美功能,并为油画创作和实践提供相应的理论依据。
From the 36th to the 41rd of Wang Guowei’s “Human World Conversations”, they mainly talk about the criticism scale of “separated” and “not separated”. This “separation” and “not separated” in the history of literary theory critically important. At the same time as an aesthetic feature, it also has profound guiding significance for contemporary oil painting creation. This article will analyze two typical cases of “separation” and “not separation” in contemporary Chinese oil painting, summarize the different aesthetic functions of the two aspects of this aesthetic characteristic and provide corresponding for oil painting creation and practice The theoretical basis.