本文選題：傳統(tǒng)文人畫 + 品評(píng)��； 參考：《南京藝術(shù)學(xué)院》2016年博士論文

【摘要】：文人畫始于唐代,至宋代蘇軾提出“士夫畫”而發(fā)展,到明朝董其昌提出文人畫而盛行,繪畫的收藏、品評(píng)也在文人士大夫中蔚然成風(fēng)。繪畫的產(chǎn)生與發(fā)展離不開(kāi)相應(yīng)的理論的支撐,理論規(guī)導(dǎo)和支配著畫家的繪畫觀念和探索,“文人畫”的發(fā)展可謂是創(chuàng)作理論與當(dāng)時(shí)畫家的藝術(shù)實(shí)踐相互影響或促動(dòng),在繪畫創(chuàng)作的實(shí)踐中文人畫家逐漸形成了豐富的繪畫觀并逐漸建立了一套獨(dú)特的品評(píng)理論體系。本文對(duì)文人畫品評(píng)的理論進(jìn)行了梳理,并對(duì)其成因展開(kāi)了不同角度的文化分析。儒道釋哲學(xué)思想對(duì)文人畫家的思維方式、審美情趣及文人畫的藝術(shù)構(gòu)思等方面都有較深的影響;社會(huì)因素也是影響文人畫品評(píng)理論的重要原因。文人畫家追求“主、客同構(gòu)”,把繪畫作為表現(xiàn)主體情感的載體,寄寓筆墨以情感,在描繪客觀世界的同時(shí)融入內(nèi)心世界的表達(dá),強(qiáng)調(diào)作品的神韻;文人畫家群體的構(gòu)成和集體意識(shí)的特殊性也是影響其品評(píng)理論的重要因素。文人畫家多以畫為余事,并且文人畫家大都出身權(quán)貴,地位決定了他們掌握話語(yǔ)權(quán),有著影響繪畫發(fā)展方向的巨大力量,能夠?yàn)槔L畫理論的踐行推波助瀾,他們對(duì)文人畫理論的相互唱和會(huì)形成一種強(qiáng)勢(shì)的集體意識(shí)。文人畫品評(píng)對(duì)繪畫的創(chuàng)作產(chǎn)生了深刻的影響,這種影響不僅體現(xiàn)在繪畫的整個(gè)過(guò)程中,而且具體反映在畫家對(duì)造形、筆墨、構(gòu)圖等方面的獨(dú)特追求上。文人畫以抒發(fā)性靈、彰顯個(gè)性為旨?xì)w,不求形似、重神甚于重形,以逸筆抒寫逸氣,重在寫意、力求表達(dá)意境。文人畫家認(rèn)為筆墨具有不依附于表現(xiàn)對(duì)象的獨(dú)立的形式美,并能表達(dá)人的主觀精神,因此具有獨(dú)特的筆墨語(yǔ)言。文人畫在色彩表現(xiàn)上重主觀性,重水墨輕彩色,色彩表現(xiàn)追求意盡不求顏色似。文人畫的畫面構(gòu)圖崇尚簡(jiǎn)潔和留白,并打破時(shí)空的限制,依據(jù)主觀感受經(jīng)營(yíng)畫面,又注重畫外功夫的修煉,融詩(shī)書畫印為一體。從風(fēng)格的整體傾向性而言,文人畫呈現(xiàn)出淡、雅、拙和荒寒的意境。文人畫的品評(píng)與繪畫創(chuàng)作有著規(guī)導(dǎo)與互動(dòng)的關(guān)系。文人畫品評(píng)理論指導(dǎo)繪畫創(chuàng)作的實(shí)踐,同時(shí),創(chuàng)作對(duì)理論也是一種體驗(yàn)與踐行,創(chuàng)作也有對(duì)理論的超越、豐富和推動(dòng)。文人畫的品評(píng)對(duì)繪畫的影響也不可避免地存在著消極的因素。因此,對(duì)于傳統(tǒng)文人畫的品評(píng),我們應(yīng)當(dāng)理性的認(rèn)知并繼承其精神,以提高繪畫創(chuàng)作的審美趣味,而不是教條的套用標(biāo)準(zhǔn)。綜上,本文以文人畫的品評(píng)為研究對(duì)象,系統(tǒng)、深入、多角度、全方位的分析傳統(tǒng)文人畫的品評(píng)理論、背后的成因、對(duì)繪畫實(shí)踐的影響、理論與創(chuàng)作的互動(dòng)關(guān)系及對(duì)繪畫發(fā)展的影響等問(wèn)題,有利于充分把握傳統(tǒng)文人畫品評(píng)理論的精髓,合理地明辨現(xiàn)代中國(guó)畫創(chuàng)作的發(fā)展動(dòng)向。
[Abstract]:Literati painting began in Tang Dynasty, and developed by Su Shi in Song Dynasty. Dong Qichang put forward literati painting in Ming Dynasty and became popular. The collection of paintings became popular among literati and officials. The generation and development of painting can not be separated from the support of the corresponding theories. The theory guides and dominates the painters' concept of painting and exploration. The development of "literati painting" can be described as the interaction or promotion between the creation theory and the artist's artistic practice at that time. In the practice of painting, literati painters gradually formed a rich view of painting and gradually established a unique evaluation theory system. This paper combs the theory of literati painting evaluation and analyzes its causes from different angles. Confucianism, Taoism, Buddhism and philosophy have a deep influence on the way of thinking, aesthetic taste and artistic conception of literati painting, and social factors are also the important reasons to influence the theory of literary painting evaluation. Literati painters pursue "subject and object isomorphism", regard painting as the carrier of expressing subject's emotion, combine pen and ink with emotion, while depicting objective world, melt into the expression of inner world, emphasize the charm of works; The composition of literati and painter group and the particularity of collective consciousness are also the important factors that influence the evaluation theory. Most literati painters take painting as the rest, and most of the literati painters come from high power, and their status determines that they have the right to speak, and have great power to influence the development direction of painting, which can promote the practice of painting theory. Their mutual singing of literati painting theory will form a strong collective consciousness. The evaluation of literati painting has a profound influence on the creation of painting, which is reflected not only in the whole process of painting, but also in the unique pursuit of the painter in the aspects of shape, ink and pen, composition and so on. Literati painting to express the spirit, show personality as the purpose, do not seek to likeness, focus on God more than heavy form, with the easy pen to express ease, emphasis on freehand brushwork, strive to express artistic conception. The literati painters believe that ink has the independent beauty of form which is not attached to the objects of expression, and can express the subjective spirit of human beings, so it has a unique language of pen and ink. Literati painting emphasis on subjectivity in color performance, emphasis on ink, color, color performance pursuit of meaning do not seek color resemblance. Literati picture composition advocates simplicity and white space, breaks the limitation of time and space, manages the picture according to subjective feeling, pays attention to the practice of off-picture kung fu, and integrates poetry, calligraphy, painting and printing into one body. From the overall tendency of style, literati paintings show a light, elegant, clumsy and desolate artistic conception. The evaluation of literati painting and painting creation have the relation of regulation and interaction. Literati painting evaluation theory guides the practice of painting creation, at the same time, creation is also a kind of experience and practice to the theory, and creation has transcended, enriched and promoted the theory. The influence of literati painting evaluation on painting also inevitably has negative factors. Therefore, for the evaluation of traditional literati painting, we should rationally recognize and inherit its spirit in order to improve the aesthetic taste of painting creation, rather than the standard of applying dogma. To sum up, this paper takes the evaluation of literati painting as the research object, systemically, deeply, and comprehensively analyzes the traditional literary painting evaluation theory, the causes behind it, and the influence on painting practice. The interactive relationship between theory and creation and its influence on the development of painting are helpful to grasp the essence of traditional literary painting evaluation theory and to distinguish the development trend of modern Chinese painting creation.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J212

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本文編號(hào)：1892530