本文關(guān)鍵詞： 南宋院體畫 日本水墨山水畫 文化交流 繪畫圖式 畫家身份　出處：《曲阜師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：中國古代的繪畫藝術(shù)成就輝煌、歷史悠久，是中華傳統(tǒng)文化的重要組成部分。中華文明博大精深，有著自己獨(dú)特的自然觀、藝術(shù)觀與審美觀，在此基礎(chǔ)上形成了中國繪畫獨(dú)特的思維模式，表現(xiàn)語言與繪畫風(fēng)格，是中華民族的民族性格在繪畫上的高度反映。中國古代文明對(duì)日本文化在廣度與深度上都產(chǎn)生了巨大影響，涉及社會(huì)生活的各個(gè)方面。尤其是中國古代繪畫的魅力與藝術(shù)價(jià)值更令日本人崇拜與折服，由于地理位置上的接近，便利了兩國之間的往來，在歷史上日本畫家曾多次到中國來學(xué)習(xí)繪畫，中國文化藝術(shù)成了日本創(chuàng)造本國文化形態(tài)的母本，唐宋時(shí)期曾在日本形成數(shù)次學(xué)習(xí)中國繪畫的高潮。特別是在宋代，院體畫達(dá)到了他的巔峰時(shí)期，，山水畫完成了由北宋“全景構(gòu)圖”到南宋“邊角之景”的過渡，這種變化的原因是多方面的，人們對(duì)待自然的方式逐漸由外在的表現(xiàn)轉(zhuǎn)向?qū)?nèi)心的關(guān)照，這些觀念也深深影響了當(dāng)時(shí)的日本繪畫。日本狩野派是日本繪畫史上存在的時(shí)間最長、也最具有影響力的畫派，畫風(fēng)吸收了宋朝院體畫和僧侶禪意畫的營養(yǎng)，并根據(jù)日本本土的審美習(xí)慣對(duì)宋朝院體畫的構(gòu)圖、題材、筆墨技法等進(jìn)行了多方面的改造，在中國南宋院體畫的基礎(chǔ)上形成了自己的繪畫風(fēng)格。狩野派前期風(fēng)格水墨韻味較足，更像南宋院體畫的翻版。狩野派被世人熟知的是其金碧輝煌而又充滿裝飾趣味的的障屏畫，這種金碧輝煌的風(fēng)格既有中國青綠山水畫的瑰麗，也有著院體畫的豁達(dá)，這種獨(dú)特風(fēng)格的形成非常值得研究。在當(dāng)代，國內(nèi)外學(xué)者對(duì)狩野派繪畫風(fēng)格在各個(gè)時(shí)期的發(fā)展演變研究相對(duì)來說較匱乏，也忽視了狩野派在特殊的家族延續(xù)方式下對(duì)其繪畫形態(tài)的影響。南宋院體畫與狩野派山水畫的關(guān)系屬于藝術(shù)研究的邊緣學(xué)科，但其又是藝術(shù)研究領(lǐng)域中不可忽視的重要方面，對(duì)中日繪畫歷史研究有著極為重要的意義。因此，筆者把狩野派山水畫形成的各因素進(jìn)行系統(tǒng)全面的整理分析，通過和中國南宋院體繪畫在各層面進(jìn)行比較，并深入探討其背后所折射出來的種種現(xiàn)象，力求全面的展現(xiàn)出這一傳奇畫派的風(fēng)采以及其與南宋院體畫的淵源關(guān)系，對(duì)作為中國美術(shù)支流的日本繪畫研究做一點(diǎn)補(bǔ)充。 本課題基于各領(lǐng)域的研究成果，主要運(yùn)用了比較分析法、作品分析法、文獻(xiàn)參考法、著作參照法、歷史調(diào)研法和理論聯(lián)系實(shí)際等一系列綜合研究的方法，力求運(yùn)用多視角和學(xué)科橫向交叉對(duì)繪畫藝術(shù)進(jìn)行研究。
[Abstract]:The ancient Chinese painting art has a brilliant achievement and a long history, which is an important part of Chinese traditional culture. The Chinese civilization is extensive and profound, and has its own unique view of nature, art and aesthetics. On this basis formed a unique mode of thinking of Chinese painting, the expression of language and painting style. It is the high reflection of the national character of the Chinese nation in painting. Ancient Chinese civilization has a great impact on the breadth and depth of Japanese culture. Especially the charm and artistic value of ancient Chinese paintings make the Japanese worship and admiration, because of the proximity of geographical location, facilitate the exchanges between the two countries. In history, Japanese painters have come to China many times to learn painting, Chinese culture and art has become the mother of Japan to create its own cultural form. During the Tang and Song dynasties, there were several climaxes of learning Chinese painting in Japan. Especially in the Song Dynasty, the school painting reached its peak, and the landscape painting completed the transition from "panoramic composition" to "the scene of the border corner" in the Northern Song Dynasty. There are many reasons for this change, and the way people treat nature gradually changes from external performance to inner care. These ideas also deeply affected the Japanese painting at that time. The Japanese Shunye School was the longest and most influential painting school in the history of Japanese painting. The painting style absorbed the nutrition of the Song Dynasty Yuan style painting and the monk Zen painting. And according to the Japanese native aesthetic habits of the Song Dynasty Yuan painting composition, subject matter, pen and ink techniques and other aspects of the transformation. On the basis of the style painting of the Southern Song Dynasty in China, it formed its own painting style. It is more like the reproduction of the style paintings of the Southern Song Dynasty. What is well known to the world is its golden and colorful barrier screen paintings which are full of decorative interest. This brilliant style has the beauty of Chinese green landscape paintings. The formation of this unique style is very worthy of study. In contemporary, scholars at home and abroad relatively lack of research on the development and evolution of the Shou style in each period. It also ignores the influence of Shou Ye School on its painting form under the special family continuation mode. The relationship between the style painting of the Southern Song Dynasty and the landscape painting of the Shishenye School belongs to the marginal subject of art research. However, it is also an important aspect in the field of art research, which is of great significance to the study of Chinese and Japanese painting history. Through the comparison with the style painting of the Southern Song Dynasty in China at all levels, and in-depth study of its behind the refraction of a variety of phenomena. Strive to comprehensively show the style of this legendary painting and its relationship with the South Song Dynasty style painting, as a tributary of Chinese art in the study of Japanese painting to do a little complement. Based on the research results in various fields, this paper mainly uses a series of comprehensive research methods, such as comparative analysis method, work analysis method, literature reference method, book reference method, historical investigation method and theory combined with practice. Try to use multi-angle and cross-disciplinary horizontal to study the art of painting.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J209.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

1 冉毅;湖湘文化在日本[J];湖南師范大學(xué)社會(huì)科學(xué)學(xué)報(bào);2000年03期

2 沈樂平;;元朱文印研究導(dǎo)論[J];新美術(shù);2008年03期

3 周清波;;南宋“院體”山水畫風(fēng)格再解讀[J];鄭州大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2006年04期

本文編號(hào)：1448705