本文選題：髡殘 + 藝術(shù)接受��； 參考：《江蘇大學(xué)》2017年碩士論文

【摘要】：“四畫僧”中的髡殘是中國繪畫史上越來越受人矚目的藝術(shù)文本,也是古典傳統(tǒng)畫和近現(xiàn)代山水畫研究中頗受關(guān)注的藝術(shù)個案。髡殘出生于明萬歷壬子,早年由于種種原因突然削發(fā)為僧,專心佛道,以后客居南京勤習(xí)畫事,直至終老。髡殘擅長山水,筆墨高古,意境幽辟,尤其是他將山石敏感處理成具有肌理的質(zhì)感,所呈現(xiàn)的光影效果更具現(xiàn)代性。清初時髡殘的藝術(shù)和人格曾備受時人推崇,到了清中期則無相關(guān)的記載和描述,直至清末民國方重新被人解讀和接受,可謂經(jīng)歷大起大落的一個被接受的過程。本文試圖通過接受美學(xué)的基礎(chǔ)研究方法,以髡殘藝術(shù)為解讀文本以及清末民國時相關(guān)藝術(shù)家對其直接或間接接受現(xiàn)象為關(guān)注點,并運用文獻學(xué)和圖像分析法等對其作品予以梳理和歸納。首先,本文從髡殘藝術(shù)這一文本研究出發(fā),試圖還原髡殘繪畫在其生前的真實社會地位,梳理髡殘由“二溪”、“二石”到“三高僧”再到“四畫僧”等概念的變遷歷程,重點研究“四畫僧”在清末民國時極高社會地位的時代因素。其次,主要研究清末民國時期的畫壇生態(tài),從金石畫風(fēng)的興起、中西繪畫的融合到商業(yè)文化的深度影響,尋找出當時文化思想中有關(guān)“殘缺美”的“政治正確”,并研究髡殘在清末民國的藝術(shù)再接受現(xiàn)象,以揭示該接受變遷之緣由。再次是關(guān)于髡殘繪畫接受的地域和受眾的研究,將髡殘生前的活動范圍與清末民國時再次被接受的區(qū)域進行學(xué)理分析,重點探究曾熙、蕭俊賢、張大千、黃賓虹、黃君璧、黃秋園等人相關(guān)的繪畫作品與髡殘繪畫作品的藝術(shù)關(guān)聯(lián)。最后將清末民國髡殘被接受的相關(guān)文獻總結(jié)列表。再者,筆者也將清末民國這段時期畫論家對髡殘的再接受進行梳理、分析和總結(jié),本文尤其是民國初年佛教文化的興盛與社會思潮,也影響了“四畫僧”藝術(shù)的興起。發(fā)掘出由清初到民國三百余年里文人墨客審美思想的變遷歷程,印證出對髡殘再接受的時代意義。
[Abstract]:The disabling of the four painting monks is a more and more attractive art text in the history of Chinese painting, and it is also an art case that has been paid close attention to in the study of classical traditional painting and modern landscape painting. In his early years, he was suddenly cut off as a monk for a variety of reasons, absorbed in Buddhism, and later settled in Nanjing to study painting, until his old age. He is good at mountains and rivers, his pen and ink are high and ancient, his artistic conception is secluded, especially his sensitive treatment of mountains and rocks has texture texture, and the effect of light and shadow is more modern. At the beginning of Qing Dynasty, the disabled art and personality were respected by people of the time, but in the middle of Qing Dynasty, there were no relevant records and descriptions, until the late Qing Dynasty and the Republic of China were reinterpreted and accepted, which can be described as an accepted process of great ups and downs. Through the basic research method of receptive aesthetics, this paper attempts to take the art of handicap as the interpretation of the text and the direct or indirect reception phenomenon of the artists in the late Qing Dynasty and the Republic of China. And the use of philology and image analysis to comb and sum up his works. First of all, this paper tries to restore the real social status of the painting from "Erxi", "Ershi" to "Sanshang" and then to the "four painting monks" from the text study of the art of disabling, trying to restore the real social status of the painting before his death. Focus on the "four painting monk" in the late Qing Dynasty and the Republic of China extremely high social status factors. Secondly, it mainly studies the ecology of painting world in the late Qing Dynasty and the Republic of China period. From the rise of the painting style of gold and stone and the deep influence of Chinese and Western painting to the commercial culture, it finds out the "political correctness" of the "incomplete beauty" in the cultural thought of that time. In order to reveal the reason of the change of the acceptance, this paper studies the phenomenon of art reacceptance in the late Qing Dynasty and the Republic of China. Thirdly, it is about the study of the region and the audience of the acceptance of his paintings. The scope of his activities before his death and the area that was accepted again in the late Qing and Republic of China were analyzed theoretically, focusing on Zeng Xi, Xiao Junxian, Zhang Daqian, Huang Binhong, Huang Junbi, Huang Qiuyuan and other related painting works and the artistic connection of the painting works. Finally, the last part of the Republic of China is accepted as a summary of relevant documents. Furthermore, the author also combs, analyzes and summarizes the re-acceptance of the "four painting monks" in the period of the late Qing Dynasty and the Republic of China. This article, especially the prosperity of Buddhist culture and the social trend of thought in the early period of the Republic of China, has also affected the rise of the "four painting monks" art. From the beginning of Qing Dynasty to the period of more than 300 years, the author's aesthetic thought has changed and confirmed the significance of accepting it again.
【學(xué)位授予單位】：江蘇大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前1條

1 陳傳席;20世紀中國美術(shù)形成的各種因素[J];美術(shù);2000年06期

相關(guān)博士學(xué)位論文 前1條

1 呂曉;髡殘繪畫研究[D];南京藝術(shù)學(xué)院;2003年

，

本文編號：1833242