石家庄学院学报

元代的文化思想与士人心态与魏晋时代具有内在审美的“同构”特质，而魏晋之风是在老庄“绝圣弃智”思想的继承与思辨中形成的。处此语境中的倪瓒，一方面继承了魏晋“士气”的精神传统；另一方面在继承马夏“极简化”绘画艺术风格的同时，在构图中又强调隔字，不仅隔出了近景和远山，也隔断了观赏者的感官经验，凸显了“被抛”在世的生命困境，形成了“萧疏荒寒”的美学风格。这种美学风格正是倪瓒从精神及思想上对老庄思想“绝圣弃智”“离形去知”的续接，也因此完成了对“古意”的涵容以及“形简而意丰”的美学思辨。

The cultural ideology and mentality of scholars in the Yuan Dynasty share the "isomorphism" of an inherent aesthetic with the Wei and Jin Dynasties. The spirit of Wei and Jin Dynasties is also formed in the inheritance and contemplation of Laozi and Zhuangzi's thought of "marvelous sage gives up wisdom". In this context, Ni Zan, on the one hand, inherits the spiritual tradition of "morale" from the Wei and Jin Dynasties; On the other hand, while inheriting the artistic style of Ma Yuan and Xia Gui's "minimalist" painting, he not only separates the near scene from distant mountains, but also isolates the viewer's sensory experience, highlighting the dilemma of life "abandoned" in the world, forming an aesthetic style of "desolation and grieved bleakness".This style is Ni Zan's spiritual and ideological continuation of Laozi and Zhuangzi's thought of "absolute sainthood and abandonment of wisdom" and "abandon form discard wisdom ", and thus complete the connotation of "ancient meaning" and the aesthetic speculation of " simple form and rich meaning".