本文關(guān)鍵詞： 八大山人 倪瓚 繪畫風(fēng)格 美學(xué)思想 傳承 發(fā)展　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】：元朝和清代都是異族統(tǒng)治的時(shí)期，漢人的社會(huì)地位受到嚴(yán)重排擠，尤其是那些文人士大夫，胸中大志無法得以實(shí)現(xiàn)，心中不滿的情緒便油然而生，當(dāng)中有不少文人選擇了棄仕從隱這一路徑，終日與山林、溪水為伴，通過繪畫的形式將心中的情感抒發(fā)出來。正是由于特殊的時(shí)代背景和人生經(jīng)歷成功地造就了一批優(yōu)秀的山水畫家，像元四家和清初四僧就分別代表了元代和清代山水畫的巔峰時(shí)刻。恰巧元四家中的倪瓚和清初四僧中的八大山人（以下簡稱“八大”）無論在生活經(jīng)歷還是在思想閱歷上都有很大的相似之處，，，細(xì)看二位的畫作，筆者認(rèn)為他們之間存在著共鳴，在八大的山水畫中可以看到很多倪畫的影子，這與八大學(xué)習(xí)倪瓚的山水畫有著不可分割的原因。八大與倪瓚跨越300多年的歷史，在繪畫藝術(shù)上產(chǎn)生交集，董其昌在中間發(fā)揮著重要的橋梁作用。 八大和倪瓚是元清時(shí)期具有影響力的兩位畫家，并且二人都極富創(chuàng)新精神，其藝術(shù)成就對后世影響深遠(yuǎn)。綜觀八大留存于世的山水畫作品，有不少題識“仿倪瓚山水”的作品，從這一點(diǎn)可直觀地發(fā)現(xiàn)，八大的山水畫在一定程度上學(xué)習(xí)和借鑒了倪瓚的山水，值得注意的是八大畫中的“仿”不是全盤照搬描摹，而是將其變?yōu)橐环N創(chuàng)作手段，展現(xiàn)了一種與原畫有著別樣風(fēng)格趣味的山水畫。八大把學(xué)習(xí)山水畫的臨仿途徑，發(fā)展到了一個(gè)新的高峰。 本文擬從兩者的生平經(jīng)歷、繪畫風(fēng)格與美學(xué)思想方面進(jìn)行分析，總結(jié)比較二位的異同之處，進(jìn)而探析和考證其內(nèi)在的承變關(guān)系。本課題第一部分主要是論述八大山水畫師承之根源，引出八大學(xué)習(xí)倪瓚山水畫的淵源。第二部分是對八大和倪瓚的藝術(shù)特色進(jìn)行全面分析為第三部分做鋪墊。在本文的第三部分筆者先對八大和倪瓚山水畫的異同進(jìn)行總結(jié)歸納，發(fā)現(xiàn)二位的山水畫都體現(xiàn)了一種簡、淡、空、真的面貌，淋漓盡致地向世人表達(dá)了一種“道禪入畫”的繪畫思想。另外，由于身份背景的差異性，二人在情感內(nèi)容的抒發(fā)上又彰顯著各自的特點(diǎn)。緊接著重點(diǎn)探析和考證了八大在技法和思想方面對倪瓚的傳承和演變。八大秉承了倪瓚山水畫中對“逸”的追求和程式化的章法，并將倪畫中的舒緩線條和寂靜之境變得略顯動(dòng)感。第四部分筆者主要是談一談?dòng)砂舜髮δ攮懮剿嫷膫鞒泻脱葑儯由斐鰜淼膶鞒泻蛣?chuàng)新的再認(rèn)識，以及對當(dāng)今山水畫教學(xué)的啟示。這對于筆者以后從事教學(xué)工作和繪畫創(chuàng)作有很大的啟迪意義。
[Abstract]:The Yuan Dynasty and Qing Dynasty were the period of alien rule, the social status of Han people was seriously excluded, especially those literati and officials, the ambition could not be realized, the heart of discontent arises. Among them, many scholars chose to abandon the official from hidden this path, all day long with mountains, forests, streams as partners. Through the form of painting to express the feelings of the heart. It is because of the special background of the times and life experience successfully created a number of excellent landscape painters. The four Pixels and the four monks in the early Qing Dynasty represented the peak time of the landscape paintings of the Yuan Dynasty and the Qing Dynasty, respectively. It happened that Ni Zan of the four Yuan families and eight of the four monks in the early Qing Dynasty (hereinafter referred to as the "eight great"). No matter in the life experience or in the thought experience all have the very big similarity. I think there is a resonance between them, in the eight landscape paintings can see a lot of Ni painting shadow. This has an inseparable reason for studying Ni Zan's landscape painting. The eighth National Congress and Ni Zan span more than 300 years of history and intersect in painting art. Dong Qichang plays an important role as a bridge in the middle. The eighth National Congress and Ni Zan are two influential painters in the Yuan and Qing dynasties, and both of them are full of innovative spirit, and their artistic achievements have a profound impact on later generations. There are many works of "imitating Ni Zan's landscape". From this point, it can be directly found that the eight great landscape paintings learn and learn from Ni Zan's landscape to a certain extent. It is worth noting that the "imitation" in the eight major paintings is not a complete copy, but a means of creation. It shows a kind of landscape painting which has a different style and interest from the original painting. This article from the two life experience, painting style and aesthetic thinking aspects of analysis, summed up the similarities and differences between the two. The first part of this thesis mainly discusses the root of the eight major landscape painting teachers. The second part is to make a comprehensive analysis of the artistic characteristics of the eighth National Congress and Ni Zan for the third part. In the third part of this article, the author first to the eight National Congress and Ni Zan landscape painting similarities and differences. Summing up. Found that the two landscape paintings reflect a simple, light, empty, real face, incisively and vividly expressed to the world a "Tao Zen painting" painting thought. In addition, due to the differences in identity background. The two of them showed their own characteristics in the expression of emotional content. Then the emphasis was put on the inheritance and evolution of Ni Zan in the techniques and thoughts of the eighth National Congress. The eighth Congress inherited Ni Zan's "Yi" in the landscape painting of Ni Zan. The pursuit and stylization of the rules. The 4th part of the author mainly talks about the inheritance and evolution of the eight National Congress of Ni Zan landscape painting, extending out of the new understanding of inheritance and innovation. As well as the enlightenment to the present landscape painting teaching, which is very enlightening significance for the author to engage in teaching work and painting creation in the future.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205

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