本文選題：黃賓虹　切入點(diǎn)：古文經(jīng)學(xué)　出處：《中國(guó)社會(huì)科學(xué)院研究生院》2003年博士論文　論文類型：學(xué)位論文

【摘要】： 在中國(guó)近現(xiàn)代社會(huì)、經(jīng)濟(jì)、文化結(jié)構(gòu)變化過(guò)程中，黃賓虹在繼承國(guó)粹思想的基礎(chǔ)上探索新意境，創(chuàng)造了獨(dú)特的“渾厚華滋”新藝術(shù)境界，本文對(duì)此作了具體考察。全文由緒論，正文和結(jié)論組成，其中正文包括三個(gè)章節(jié)。 緒論簡(jiǎn)述研究的目的、意義，簡(jiǎn)要勾畫論文的基本結(jié)構(gòu)。 第一章探討黃賓虹與國(guó)粹思想的關(guān)系。鴉片戰(zhàn)爭(zhēng)以后，隨著社會(huì)經(jīng)濟(jì)的變化，一些人士繼承“經(jīng)世致用”的傳統(tǒng)，提倡改革，以達(dá)到強(qiáng)國(guó)的目的。他們的思想和主張，基本都在經(jīng)學(xué)的羈絆下展開。以康有為為首的維新派鑒于中國(guó)的歷史與封建統(tǒng)治腐朽的現(xiàn)實(shí)，提出在今文經(jīng)學(xué)的基礎(chǔ)上進(jìn)行變法圖強(qiáng)，因而具有進(jìn)步的意義。但維新變法運(yùn)動(dòng)失敗后，康有為逐漸走向反面。章太炎和康有為分裂，從改良轉(zhuǎn)向了革命。在學(xué)術(shù)研究方面，他繼承古文經(jīng)學(xué)家的治學(xué)方法，形成了以保存國(guó)學(xué)、發(fā)揚(yáng)國(guó)粹為主的國(guó)粹革命思想。 黃賓虹在中國(guó)歷史、社會(huì)、文化轉(zhuǎn)換的過(guò)程中，思想方面具有先進(jìn)性，為了拯救民族危機(jī)他參加了維新變法運(yùn)動(dòng)。盡管康有為變成保守勢(shì)力，黃賓虹則與章太炎同步，形成國(guó)粹思想。其形成基礎(chǔ)可分二。其一，傳統(tǒng)學(xué)問(wèn)的基礎(chǔ)較深厚。黃賓虹在富裕和充滿文化氛圍中，受到良好的傳統(tǒng)教育，有扎實(shí)的傳統(tǒng)學(xué)問(wèn)基礎(chǔ)。其二，黃賓虹在形成國(guó)粹革命思想的前一階段，接受維新思想。但并沒(méi)有停留在改良主義立場(chǎng)，而是能繼續(xù)追隨進(jìn)步潮流，加入到民主共和制的革命派中去。 黃賓虹國(guó)粹思想的實(shí)踐，其特點(diǎn)有四。其一，繼承古文經(jīng)學(xué)的治學(xué)方法，推崇黃宗羲、組織黃社，鉆研金石學(xué)，表彰守節(jié)的遺民意識(shí)。其二，以學(xué)術(shù)為主，鼓吹革命。編輯國(guó)粹學(xué)報(bào)、真相畫報(bào)等期刊，，參加南社、藝觀學(xué)會(huì)等組織。其三，從國(guó)粹思想的繼續(xù)發(fā)揚(yáng)上理解君學(xué)民學(xué)，帶有朦朧的民主意識(shí)。其四，吸收西方文化的態(tài)度，涉及國(guó)際學(xué)術(shù)界對(duì)中國(guó)繪畫的關(guān)注的部分，帶來(lái)了黃賓虹繪畫思想的深化和晚年藝術(shù)境界的擴(kuò)大。 第二章題為黃賓虹與繪畫美學(xué)思想。中國(guó)傳統(tǒng)哲學(xué)思想的天人合一思維方式追求，人可以從任何自然物或人本身出發(fā)，達(dá)到與宇宙整體溝通、一體化，從而在精神上達(dá)到把握無(wú)限與永恒。意境論能使藝術(shù)家在精神上超越自由的障礙。到清末民初，中國(guó)山水畫家中開始批評(píng)“四王”流風(fēng)，這是試圖實(shí)現(xiàn)藝術(shù)的創(chuàng)造美的一種表現(xiàn)。 近現(xiàn)代傳統(tǒng)派與改革派畫家，都從包世臣的《藝舟雙楫》和康有為的《廣藝舟雙楫》發(fā)端，對(duì)“四王”山水畫進(jìn)行批評(píng)。包世臣根據(jù)中國(guó)古代藝術(shù)的天人合一思想，要超越南宗文 人畫偏重對(duì)“入柔靡”意境追求，恢復(fù)與自然一體的無(wú)限感、永恒感，實(shí)現(xiàn)藝術(shù)本質(zhì)的創(chuàng)造 美。為了糾正“入柔靡”的弱點(diǎn)，他從傳統(tǒng)中發(fā)掘包世臣的《藝舟雙揖》，金石篆刻和碑學(xué) 之用筆，并將它引入山水畫，創(chuàng)造了“渾厚華滋民族精神”，以繪畫藝術(shù)救亡圖存、振奮民 族意識(shí)。他在繼承中國(guó)傳統(tǒng)文藝?yán)碚摗拔囊暂d道”的基礎(chǔ)上，還接受了近代文藝界的為人生 的藝術(shù)和現(xiàn)代中國(guó)的“文藝為政治服務(wù)”主張。 第三章探討黃賓虹繪畫實(shí)踐與山水畫的分期。黃賓虹在金石學(xué)的基礎(chǔ)上，主張書畫同 源，把傳統(tǒng)筆墨行、草、篆、隸等書法用筆，總結(jié)為“五筆”(平、留、圓、重、變)，“七 墨”(濃、淡、破、積、潑、焦、宿)。從筆墨的功夫?yàn)榛A(chǔ)進(jìn)行寫生觀察，形成“打點(diǎn)作效” 的畫法，從而表現(xiàn)與宇宙一體的感受來(lái)實(shí)踐了黑、密、厚、重的渾厚華滋風(fēng)格。 對(duì)黃賓虹山水畫作品進(jìn)行分期。分為三。其一，師古人時(shí)期，黃賓虹的畫主要學(xué)新安畫 派，構(gòu)成早期疏淡清逸的山水畫風(fēng)格。其二，師造化時(shí)期，通過(guò)桂粵寫生、蜀游轉(zhuǎn)向獨(dú)創(chuàng)期。 在筆法的基礎(chǔ)上，較注重用墨法。其三，在師古人、師造化的基礎(chǔ)上，創(chuàng)造了“渾厚華滋” 的藝術(shù)境界。他的筆法得力于金文大篆的用筆，剛中能柔，圓渾厚重，生辣稚拙，沉著剛健。 他的墨法，達(dá)到了將各種墨法靈活交替運(yùn)用的境界。 他師法自然而又不受傳統(tǒng)的束縛，他不順延“四王”傳統(tǒng)而從整體上反思傳統(tǒng)、整合傳 統(tǒng)，在傳統(tǒng)的基礎(chǔ)上變革，賦予山水畫以新意和新的視覺(jué)樣式。他的繪畫不僅保持和弘揚(yáng)了 中國(guó)畫的特色以及中國(guó)筆墨的神奇，而且將二十世紀(jì)中國(guó)山水畫的水平和品格提升到了一個(gè) 新的高度。 結(jié)論黃賓虹以國(guó)粹思想為基礎(chǔ)展開其繪畫美學(xué)，而得到傳統(tǒng)的集大成和向現(xiàn)代轉(zhuǎn)變的 成就。
[Abstract]:China economy in modern society, culture, structure change process, based on inheriting the quintessence of Huang Binhong thought on exploring new artistic conception, created a unique "Wordsworth" new realm of art, this paper makes a concrete investigation. This paper consists of introduction, text and conclusion, the text includes three chapters.
The introduction gives a brief account of the purpose and significance of the study and briefly outlines the basic structure of the paper.
The first chapter discusses the relationship between Huang Binhong and the quintessence of Chinese culture. After the Opium War, with the change of society and economy, some people inherit "Statecraft" tradition, advocating reform, in order to achieve the purpose of power. Their thoughts and claims, basically in the classics of her. Kang Youwei LED to the reformists in view of history and feudal the reality of the corrupt rule Chinese, 1898 was put forward based on the study of Confucian classics, which has the meaning of progress. But the failure of the reform movement, Kang Youwei Zhang Taiyan and Kang Youwei gradually move toward the opposite. Split from improvement to the revolution. In academic research, he inherited the classical research methods of scientists, formed by the carry forward the quintessence of the quintessence of Chinese culture preservation Ancient Chinese Literature Search, revolutionary thought mainly.
Huang Binhong Chinese in history, society, culture in the conversion process, with advanced thought, in order to save the national crisis he took part in the reform movement. Although Kang Youwei became conservative forces, Huang Binhong and Zhang Taiyan formed the quintessence of Chinese culture. Simultaneously, the formation can be divided into two parts. Firstly, based on traditional learning more profound Huang Binhong. In the rich and full of cultural atmosphere, have good traditional education, traditional solid foundation of knowledge. Second, Huang Binhong in the previous stage to form the quintessence of revolutionary ideas, accept the thoughts of reform. But did not stay in a reformist, but continued to follow the tide of progress, joined the Democratic Republican Revolution to.
The practice of Huang Binhong's thought of the quintessence of Chinese culture, it has four characteristics. First, the inheritance of classical Chinese through the study method, the respected Huang Zongxi, Huang organization agency, study of epigraphy, recognition of chastity adherents consciousness. Secondly, with the academic, advocating revolution. The quintessence of editing journal, truth illustrated journals, in view of Art Society Nanshe. Organization. Third, from the quintessence of Chinese culture to continue to carry forward the understanding on the sovereign people, with a vague awareness of democracy. Fourth, the absorption of the western culture attitude, involved in international academic circles focus on Chinese painting part, brought Huang Binhong's painting thought of deepening and expanding. In the realm of Art
The topic of the second chapter is Huang Binhong's painting aesthetics. China pursuit of traditional philosophy of harmony between man and nature way of thinking, people can start from any natural or human itself, and achieve the whole universe of communication, integration, so as to grasp the infinite and eternal in spirit. The theory of artistic conception can make artists beyond obstacles of liberty in spirit. To the end of Qing Dynasty, China landscape painters began to criticize the "and" wind flow, which is trying to realize the creation of art is a manifestation of beauty.
The modern tradition of the reformers and the painter, from Bao Shichen's "Zhou Shuang Ji and Kang Youwei < > > extended double row start to criticize" and "landscape painting. Bao Shichen Chinese according to the ancient art of harmony thought, to go beyond Nan Zongwen
The human painting is biased towards the pursuit of "popular" artistic conception, the limitless sense of restoration and nature, the sense of eternity and the creation of the essence of art.
America. In order to correct the "softness" weakness, he discovered Bao Shichen's "Yi Zhou Shuang > from tradition, stone carving and calligraphy
With the pen, and put it into the landscape painting to create a "Wordsworth national spirit", the art of painting to salvation, inspiring people
The national consciousness. He inherits the China traditional literary theory "on the Writings are for conveying truth. also accepted the" modern literary circles for life
The art and modern Chinese "literature and art serve as a political service".
The third chapter discusses the stages of Huang Binhong's painting practice and landscape painting. Huang Binhong advocates calligraphy and painting on the basis of gold and stone science.
The source, the traditional pen and ink, grass, seal, etc. part of Chinese calligraphy, summed up as "Five" (flat, round, stay, weight, change), seven
"Ink" (strong, light, broken, product, splash, coke, night). From the Kung Fu of the pen and ink to carry out the sketch observation, forming the "play the effect"
The painting, which shows the feeling of the universe as a whole, has practiced the dark, dense, thick, heavy and thick Chinese style.
The stages of Huang Binhong's landscape paintings are divided into three. First, in the ancient times of the teachers, Huang Binhong's paintings mainly studied Xin'an painting.
A pie, early Shudan Seiitsu landscape painting style. Second, shizaohua period by Guangdong and Guangxi tourism to original sketch, Shu.
On the basis of the method of writing, the method of reusing the ink is compared with the method of reusing the ink.
The realm of art. His calligraphy inscriptions were able to use a pen, just in the soft, thick Yuanhun, unripe hot Zhizhuo, calm and energetic.
His method of ink has reached the level of alternately applying the various methods of ink.
He imitated natural and not bound by tradition, he is not extended "and" traditional and overall reflection of the traditional transmission, integration
On the basis of traditional transformation, the landscape painting was given new meaning and new visual style. His paintings were not only maintained and carried forward.
The features of Chinese painting and the magic of Chinese ink and ink have promoted the level and character of Chinese landscape painting in twentieth Century to one
New heights.
Conclusion Huang Binhong started his painting aesthetics on the basis of the ideology of the quintessence, and got the transformation from the traditional one to the modern.
Achievement.

【學(xué)位授予單位】：中國(guó)社會(huì)科學(xué)院研究生院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2003
【分類號(hào)】：J201

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 李明;“道咸畫學(xué)中興”說(shuō)研究[D];中央美術(shù)學(xué)院;2010年

相關(guān)碩士學(xué)位論文 前4條

1 鞏小波;論黃賓虹“五筆七墨”說(shuō)及繪畫觀[D];河南師范大學(xué);2011年

2 郭文芳;民國(guó)美術(shù)批評(píng)論綱[D];浙江師范大學(xué);2010年

3 宋陸京;黃賓虹黃山寫生畫稿研究[D];中國(guó)藝術(shù)研究院;2013年

4 候秋遠(yuǎn);宋代山水畫風(fēng)及審美觀在現(xiàn)當(dāng)代山水畫中的延承與拓展[D];魯東大學(xué);2013年

本文編號(hào)：1622444