刘知白与贵州绘画的野逸精神

摘要

贵州在中国历史文化的中心与边缘这个二元格局中居于边缘地位，为贵州绘画中的野逸精神奠定了文化地理学基础。刘知白上承宋元绘画，下接明清绘画，主要承接的就是宋代美学最高诉求的逸格精神和逸笔语言，成为贵州地域艺术中野逸精神的最高代表，他一生的绘画艺术总体上经历了清逸、野逸到超逸三种境界。%in the dual structure with the center and the edge of Chinese history and culture,Guizhou is at the edge,which lays the foundation of cultural geography for the spirit of wild leisureliness in Guizhou painting. Liu Zhibai inherits a lot from the paintings in Song and Yuan dynasties as well as those in Ming and Qing dynasties, and mainly the leisurely style spirit and leisurely drawing language as the highest pursuit in Song aesthetics. He then becomes the top representative of the spirit of wild leisureliness in Guizhou regional art. He generally experiences three realms namely pure leisureliness,wild leisureliness and super leisureliness in his painting art throughout his life.