本文選題：青綠山水 + 水墨山水�。� 參考：《陜西師范大學(xué)》2014年碩士論文

【摘要】：古人稱繪畫為“丹青”,早期的中國畫是以“色彩”為主的,山水畫也是如此。中國現(xiàn)存最早的一幅山水畫是隋代展子虔的青綠山水《游春圖》。青綠山水畫在唐宋時期一直占主導(dǎo)地位,而宋元之后,由于文人畫的興起,倡導(dǎo)寫意的水墨山水畫逐漸成為中國畫的主流。水墨山水畫從唐代王維開始,到宋元發(fā)展壯大。尤其是明代后期董其昌倡導(dǎo)“南北宗”論,崇南貶北,成為以后三百年來畫壇的主要面貌。伴隨著水墨山水的發(fā)展壯大,青綠山水不斷的被忽視與冷落。乃至清代“色彩”被下放到民間,青綠山水時隱時現(xiàn)幾乎被淹沒,水墨山水卻半抽象的程式化為特殊的語言。 哲學(xué)基礎(chǔ)的不同造就了青綠山水畫與水墨山水畫的差異。青綠山水畫的哲學(xué)基礎(chǔ)主要是是傳統(tǒng)的五色理論、儒家思想和佛教的有宗,這一理論體系是“有色系”,它決定了青綠山水畫重彩的面貌和富有裝飾性的審美特征；水墨山水畫的哲學(xué)基礎(chǔ)主要是老莊的道家思想、玄學(xué)和禪學(xué),這一理論體系是“無色系”,它決定了水墨山水畫重視黑白、虛實崇尚簡淡空靈的美學(xué)意境。 文人對繪畫的介入使得山水畫的審美傾向發(fā)生轉(zhuǎn)變。文人畫家在繪畫上倡導(dǎo)“以書入畫”,追求筆墨趣味、寫意抒情、不重形似、崇尚“逸格”,輕視色彩等,在繪畫之外講究人品、學(xué)問、才情等使得繪畫文學(xué)化,水墨山水畫漸成主流,而青綠山水畫則遭受冷落,以小青綠的形式被少數(shù)的畫家繼承下來。 如果說在傳統(tǒng)中國文化認(rèn)同趨一的環(huán)境之下中國畫長期以來形成以筆墨為中心的審美價值體系是使青綠山水受到冷落的根本原因,那么進(jìn)入二十世紀(jì)以來尤其是八十年代以后,隨著中國社會政治、經(jīng)濟(jì)、文化形態(tài)以及人的生存環(huán)境、審美觀念發(fā)生的巨大變化。傳統(tǒng)單一的審美樣式已不復(fù)存在,而現(xiàn)代山水畫在形式、內(nèi)容、技法方面的革新與探求,打破了傳統(tǒng)水墨山水獨(dú)尊的局面使其呈現(xiàn)出多元化發(fā)展的態(tài)勢。
[Abstract]:The ancients called painting "Danqing", early Chinese painting is mainly "color", landscape painting is the same. The earliest extant landscape painting in China is the Green Mountain and Water Exhibition in the Sui Dynasty. Green landscape painting in the Tang and Song dynasties has been the dominant position, and after the Song and Yuan dynasties, because of the rise of literati painting, advocating freehand brushwork landscape painting gradually become the mainstream of Chinese painting. Ink landscape painting from Tang Dynasty Wang Wei, to the Song and Yuan dynasties development. Especially in the late Ming Dynasty, Dong Qichang advocated the theory of "North and South sect" and worshipped the south and demoted the north, which became the main feature of the painting world in the following 300 years. With the development of ink landscape, green landscape has been neglected and neglected. Even in the Qing Dynasty, "color" was transferred to the folk, and the green landscape was almost submerged, while the ink landscape was formulated as a special language. The difference of philosophy foundation makes the difference between green landscape painting and ink landscape painting. The philosophical basis of green landscape painting is mainly the traditional theory of five colors, Confucianism and Buddhism, this theoretical system is a "color system", it determines the green landscape painting color features and decorative aesthetic characteristics; The philosophical basis of ink painting is Taoism, metaphysics and Zen. The theoretical system is "no color system", which determines the aesthetic conception of "black and white" and "empty and empty" in ink landscape painting. The literati's involvement in painting changes the aesthetic tendency of landscape painting. Literati painters advocate "drawing with books" in painting, pursue brushwork and ink interest, express feelings in freehand brushwork, do not emphasize likeness, advocate "ease", despise color and so on. Besides painting, they pay attention to character, knowledge, talent and so on, which make painting literary. Ink landscape painting gradually became mainstream, while green landscape painting was neglected and inherited by a few painters in the form of small green. If the traditional Chinese painting has long formed an aesthetic value system centered on pen and ink under the background of traditional Chinese cultural identity, it is the fundamental reason why the green landscape has been left out, especially since the 1980s. With the great changes of Chinese social politics, economy, culture and human's living environment, aesthetic concept has taken place. The traditional single aesthetic style has ceased to exist, and the modern landscape painting in the form, content, techniques of innovation and exploration, breaking the traditional landscape unique situation so that it presents a diversified development situation.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205

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