“真”境在北宋山水畫中的具體呈現(xiàn)形式
發(fā)布時間：2018-07-14 07:16
【摘要】：在魏晉時期中國畫的寫“真”觀念就已經(jīng)出現(xiàn),但此時這種觀念主要體現(xiàn)在人物畫和花鳥畫之中,山水畫尚處于萌芽階段,還沒有形成具體的理論要求。南朝宗炳曾在其《畫山水序》中所云“夫以應目會心為理者,類之成巧,則目亦同應,心亦俱會”(1),道出了畫山水要目擊心存、儲存表象的原理并寫到畫山水是“身所盤桓,目所綢繆,以形寫形,以色貌色”(2)的一個過程,但這里所指的“以形寫形”絕不是單純的描摹自然,而是強調(diào)了到自然中去觀察記憶,儲存形象。南朝畫家王微在其畫論中也指出創(chuàng)作山水畫的過程是由體察自然到熟記于心再到提煉升華的過程,如此才能使畫中蘊含哲理,使畫面流淌生動氣韻。宗炳和王微的這些論述直接影響了北宋山水畫的寫“真”觀的形成。到五代兩宋,荊浩在其著作《筆法記》中首次提出了關于“真”的一些見解,文中提到了山水畫創(chuàng)作的精神本質(zhì)是“圖真”,圍繞這一觀點還闡述了“度物象而取其真”和“搜妙創(chuàng)真”等理論,由此山水畫對于大自然的寫“真”觀念才形成。在古代傳統(tǒng)哲學思想和荊浩、郭熙等人對山水畫研究的影響下,中國山水畫在宋代開始將社會文化功能轉(zhuǎn)入到表現(xiàn)畫家個體人格、生命與大自然互動的感受上來,畫家更為關注自然的生命意味和自然物象的形態(tài)特征,這種轉(zhuǎn)變在宋代的山水畫作品和畫論中清晰可見。從宋代傳世的山水畫作品中會發(fā)現(xiàn)水墨的表現(xiàn)語言更加貼切自然,更加注重對山石樹木的質(zhì)感的具體呈現(xiàn),如關仝的《關山行旅圖》、李成的《寒林平野圖》、巨然的《秋山問道圖》等。觀者在欣賞作品時,視線會跟隨景物游走在層層的山林之中,時而登高望遠俯瞰群峰,時而游騁在煙波浩渺的云層上......宋代山水畫的這種特別的描繪方式是將觀者置于一個流動的空間里,使其能夠在畫中感受到大自然的真實美和內(nèi)在精神,這正是宋代山水畫獨有的特點。宋代的山水畫不僅呈現(xiàn)出自然山水的面貌而且富有人文情懷,它由藝術家個人的思想感情來主導畫面,同時把感情注入到山水形質(zhì)之中,使筆墨與自然相契合,這樣作品中既有客觀的自然形態(tài)又飽含了畫家的思想內(nèi)涵,這樣創(chuàng)作出來的作品不僅充滿了自然氣息同時也充滿了人文氣息,才會感染觀者。本文通過研究中國傳統(tǒng)哲學思想和宋代關于“真”的繪畫理論,來探求山水畫創(chuàng)作中“真”境的營造�！罢妗边@一審美范疇與先秦老莊哲學思想中所倡導的“真”是一脈相承的,因此要理解宋代山水畫中所呈現(xiàn)的“真”,就必須要對老莊哲學理論有所理解。并通過橫向研究宋代畫壇的背景探求山水畫的求“真”之路,力求整體全面的看待宋代山水畫的精神實質(zhì)和水墨內(nèi)涵,從而來把握宋代山水畫的審美追求。學習古人的傳統(tǒng)繪畫精神是為了我們當下對山水畫學習與創(chuàng)作提供明確的參考意義與價值追求,畫畫寫生必須真正懂得體察自然、理解自然、表現(xiàn)自然而后通過作品傳達出自己的審美品格和思想意境。同時,現(xiàn)在學習山水畫的大環(huán)境越來越呈現(xiàn)出多元化,畫家們往往面對傳統(tǒng)與現(xiàn)代,東方與西方,民間與學院等多種環(huán)境的交叉與融合,因此這就要求畫家要在不同風格、流派和思想之間學會去偽存真,探求藝術的自由和諧。所以宋代山水畫中所呈現(xiàn)的“真筆墨”、“真意境”、“真性情”正是當下我們在繪畫學習中應一直追求和學習的審美品格和筆墨情趣。
[Abstract]:The concept of "true" in Chinese painting in the Wei and Jin Dynasties has appeared, but at this time this concept is mainly reflected in the figure painting and flower and bird painting, the landscape painting is still in the bud stage, and there is no specific theoretical requirement. The Southern Dynasty Zong Bingceng in his "painting and landscape order" in the cloud, "the husband to the eye as the reason, the kind of coincidence, then the same should be, "Heart also will be" (1), to show that the painting landscape should be witnessed, the principle of storing the imagery and painting the landscape is a process of "body hovering, order to take measures, form shape, and color" (2), but the "form to form" is not a simple description, but emphasis on the nature to observe the memory, store the image south. In his painting theory, the painter Wang Wei also pointed out that the process of creating landscape painting was from nature to mind to distillation and sublimation, so that it could make the painting contain philosophy and make the picture flowing vividly. These treatises of Zong Bing and Wang Wei directly influenced the formation of the "true" view of the landscape painting in the Northern Song Dynasty. In the Five Dynasties and the two Song Dynasty, Jing Hao was in the Song Dynasty. In his book, he first put forward some opinions about "truth" in his writing, and the essence of the creation of landscape painting is "figure truth". Under the influence of the study of the study of the landscape painting, the Chinese landscape painting began to transfer the social and cultural functions to the individual personality of the painter and the interaction between life and nature in the Song Dynasty. The painter paid more attention to the natural life meaning and the form characteristics of natural objects, and this change in the landscape painting works of the Song Dynasty and Guo Xi. The painting theory is clearly visible. From the landscape paintings of the Song Dynasty, the expressive language of the ink and wash will be found more natural, and more attention is paid to the concrete presentation of the texture of the mountain and stone trees, such as the Guan Mountain travel map, Li Cheng's "the wild map of the cold forest", the giant "Qiu Shan" and so on. The viewer will follow the scenery when he appreciates the works. In the layers of mountain forests, the mountains and mountains are overlooking the peaks, and the mountains and rivers are overlooking the clouds. The special description of the landscape painting in the Song Dynasty is to put the viewer in a flowing space, so that it can feel the real beauty and inner spirit of nature in the painting, which is the unique feature of the Song Dynasty landscape painting. The landscape painting of the generation not only presents the nature of the natural landscape but also is rich in human feelings. It dominates the picture by the personal thoughts and feelings of the artist. At the same time, it inject the emotion into the landscape quality, and make the pen and ink fit with the nature, so that the works have both the objective natural form and the painter's ideological content, so that the creative works are created. The article is not only full of natural atmosphere but also full of humanistic atmosphere to infect the viewer. By studying traditional Chinese philosophy and the painting theory of "true" in Song Dynasty, this article explores the creation of "true" in the creation of landscape painting. The aesthetic category of "true" is a pulse of "true" advocated by the old Zhuang Zhexue thought of the pre-Qin period. Therefore, in order to understand the "true" in the landscape painting in the Song Dynasty, we must understand the theory of Lao Zhuang's philosophy and seek the "true" way of the landscape painting by studying the background of the painting of the Song Dynasty, and try to see the spirit essence of the landscape painting in the Song Dynasty and the connotation of the ink and water as a whole, so as to grasp the trial of the landscape painting of the Song Dynasty. The spirit of learning the traditional painting of the ancient people is for us to provide a clear reference and value pursuit for the study and creation of landscape painting. The painting must truly understand the nature, understand nature, show nature and convey his own aesthetic and ideological conception through the works. At the same time, we learn the landscape painting. The great environment is becoming more and more diversified. Painters often face the cross and integration of traditional and modern, Eastern and western, folk and college environment. Therefore, this requires the artists to learn the truth between different styles, schools and ideas and explore the freedom and harmony of art. So the "true ink" in the landscape painting in the Song Dynasty is "true pen and ink". "True artistic conception" and "true temperament" are the aesthetic qualities and brushwork that we should always pursue and learn in painting and learning.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
本文編號：2120891
[Abstract]:The concept of "true" in Chinese painting in the Wei and Jin Dynasties has appeared, but at this time this concept is mainly reflected in the figure painting and flower and bird painting, the landscape painting is still in the bud stage, and there is no specific theoretical requirement. The Southern Dynasty Zong Bingceng in his "painting and landscape order" in the cloud, "the husband to the eye as the reason, the kind of coincidence, then the same should be, "Heart also will be" (1), to show that the painting landscape should be witnessed, the principle of storing the imagery and painting the landscape is a process of "body hovering, order to take measures, form shape, and color" (2), but the "form to form" is not a simple description, but emphasis on the nature to observe the memory, store the image south. In his painting theory, the painter Wang Wei also pointed out that the process of creating landscape painting was from nature to mind to distillation and sublimation, so that it could make the painting contain philosophy and make the picture flowing vividly. These treatises of Zong Bing and Wang Wei directly influenced the formation of the "true" view of the landscape painting in the Northern Song Dynasty. In the Five Dynasties and the two Song Dynasty, Jing Hao was in the Song Dynasty. In his book, he first put forward some opinions about "truth" in his writing, and the essence of the creation of landscape painting is "figure truth". Under the influence of the study of the study of the landscape painting, the Chinese landscape painting began to transfer the social and cultural functions to the individual personality of the painter and the interaction between life and nature in the Song Dynasty. The painter paid more attention to the natural life meaning and the form characteristics of natural objects, and this change in the landscape painting works of the Song Dynasty and Guo Xi. The painting theory is clearly visible. From the landscape paintings of the Song Dynasty, the expressive language of the ink and wash will be found more natural, and more attention is paid to the concrete presentation of the texture of the mountain and stone trees, such as the Guan Mountain travel map, Li Cheng's "the wild map of the cold forest", the giant "Qiu Shan" and so on. The viewer will follow the scenery when he appreciates the works. In the layers of mountain forests, the mountains and mountains are overlooking the peaks, and the mountains and rivers are overlooking the clouds. The special description of the landscape painting in the Song Dynasty is to put the viewer in a flowing space, so that it can feel the real beauty and inner spirit of nature in the painting, which is the unique feature of the Song Dynasty landscape painting. The landscape painting of the generation not only presents the nature of the natural landscape but also is rich in human feelings. It dominates the picture by the personal thoughts and feelings of the artist. At the same time, it inject the emotion into the landscape quality, and make the pen and ink fit with the nature, so that the works have both the objective natural form and the painter's ideological content, so that the creative works are created. The article is not only full of natural atmosphere but also full of humanistic atmosphere to infect the viewer. By studying traditional Chinese philosophy and the painting theory of "true" in Song Dynasty, this article explores the creation of "true" in the creation of landscape painting. The aesthetic category of "true" is a pulse of "true" advocated by the old Zhuang Zhexue thought of the pre-Qin period. Therefore, in order to understand the "true" in the landscape painting in the Song Dynasty, we must understand the theory of Lao Zhuang's philosophy and seek the "true" way of the landscape painting by studying the background of the painting of the Song Dynasty, and try to see the spirit essence of the landscape painting in the Song Dynasty and the connotation of the ink and water as a whole, so as to grasp the trial of the landscape painting of the Song Dynasty. The spirit of learning the traditional painting of the ancient people is for us to provide a clear reference and value pursuit for the study and creation of landscape painting. The painting must truly understand the nature, understand nature, show nature and convey his own aesthetic and ideological conception through the works. At the same time, we learn the landscape painting. The great environment is becoming more and more diversified. Painters often face the cross and integration of traditional and modern, Eastern and western, folk and college environment. Therefore, this requires the artists to learn the truth between different styles, schools and ideas and explore the freedom and harmony of art. So the "true ink" in the landscape painting in the Song Dynasty is "true pen and ink". "True artistic conception" and "true temperament" are the aesthetic qualities and brushwork that we should always pursue and learn in painting and learning.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
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