本文關(guān)鍵詞： 點景 審美取向 文人山水畫 山水詩　出處：《陜西師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：任何藝術(shù)門類及作品都與人的精神有著密不可分的關(guān)系,山水畫中的“點景”也以其獨特的方式載負著自已的使命。 元代是中國山水畫發(fā)展的重要歷史階段,在中國美術(shù)史上占有重要地位。元代繪畫所追求的是筆墨意趣與寄情于山水的審美取向,這是基于元代特殊的政治氣氛為背景的前提下,及當(dāng)時流行的哲學(xué)思想與藝術(shù)理論影響,同時也是藝術(shù)自身發(fā)展的必然結(jié)果。 點景是山水畫成為獨立的畫科后從人物畫中解放出來的勝果。這種特定的視覺形象持續(xù)而又約定俗成的運用,在不同的時期受經(jīng)濟、政治、文化的影響表現(xiàn)出特有的表現(xiàn)方法與審美取向�！霸嫾业闹攸c已不在是對物象的描摹與再現(xiàn),自然界原有物象被擺到了次要的位置”。①這說明元代繪畫重點已不再是對客觀對象(是整體還是畫中點景)的真實再現(xiàn),將五代北宋時期出現(xiàn)的無我之境,發(fā)展成更加注重繪畫主體心靈的自由表達,注重筆墨意趣,尚意隱逸的人格化山水�！爱嬅娴木拔锟梢苑浅：唵�,但意興情趣卻很濃厚”。②山水畫中的點景也突破了形似的束縛,成為與人心靈溝通的繪畫符號。 元代山水畫可以說是文人們隱于林泉之中的精神食糧。山水畫點景中的清話、獨釣、賞月可以看出這種與世無爭看破世俗的心境。他們隱逸于林泉之間借繪畫來抒發(fā)情感,“隱逸行為作為一種文化現(xiàn)象是與專制社會里的反抗精神相聯(lián)系的�！雹蹞Q句話說隱逸是特殊的時代背景下和知識分子內(nèi)心思想彼此沖擊后形成的產(chǎn)物,“隱”是外在行為,“逸”是內(nèi)心的超凡脫俗,無拘無束的自由狀態(tài)。當(dāng)外在條件和內(nèi)心希望不能相符,又無力去改變的時候,文人們選則了退而隱之,獨善其身,一種消極無奈的生活態(tài)度。這也是一種文人的氣節(jié)。從而繪畫作品中隱逸題材大量出現(xiàn),形成了元代獨特的審美取向。 對于元代山水畫點景與畫家的審美取向研究零星散見于一些文章或論述中,但都沒有更加系統(tǒng)和完整的研究。本文以元代山水畫點景與畫家的審美取向為研究對象,聯(lián)系當(dāng)時的時代背景和文化的整體趨向,通過對元四家為代表的山水畫點景的應(yīng)用與特點(采用詩書畫相互參證的方法)來分析元代文人畫家的審美取向。同時加強了我們對山水畫中“點景”運用的重要認識,也有利于山水畫點景創(chuàng)新形式的形成,彰顯我們這個時代特有的審美取向。通過對元代山水畫點景的研究,揭示在特定的時代所產(chǎn)生的特有審美取向,具有不可否認的價值及意義。
[Abstract]:Any kind of art and works are closely related to the spirit of people, and the "Point View" in landscape painting also carries its own mission in its unique way. The Yuan Dynasty is an important historical stage of the development of Chinese landscape painting, which occupies an important position in the history of Chinese art. This is based on the background of the special political atmosphere of Yuan Dynasty and the influence of popular philosophy and art theory at that time. It is also the inevitable result of the development of art itself. Point view is the result of landscape painting being liberated from figure painting after it became an independent painting subject. This kind of special visual image is used persistently and stereotyped, and it is influenced by economy and politics at different times. The influence of culture shows a unique way of expression and aesthetic orientation. "the focus of the painters of the Yuan Dynasty is no longer to describe and reproduce the images of objects," he said. The original images of nature have been placed in a secondary position ".1 this shows that the focus of the Yuan Dynasty painting is no longer a true representation of the objective object (whether it is the whole or the mid-point scene of painting), and it will bring about the non-ego environment that emerged in the Northern Song Dynasty of the five dynasties. It has developed to pay more attention to the free expression of the mind of the subject of painting, to the interest of the pen and ink, and to the seclusion of the personified landscape. "the scenery of the picture can be very simple, but the interest of the interest in the landscape is very strong." .2 the point view in the landscape painting has also broken through the bondage of likeness. To become a painting symbol of spiritual communication with people. Landscape painting in Yuan Dynasty can be said to be the spiritual food hidden by literati in Lin Quan. When watching the moon, we can see that this kind of seclusion can see through the secular state of mind. They recluse themselves between Lin Quan and express their feelings by painting. "Hermit behavior, as a cultural phenomenon, is related to the spirit of resistance in an autocratic society." in other words, "Hermit behavior is associated with the spirit of resistance in an autocratic society." The theory of seclusion is the result of the impact of the intellectual's inner thoughts on each other under the special background of the times. "hiding" is the external behavior, and "escape" is the inner transcendence from vulgarity. The unrestrained state of freedom. When external conditions and inner hopes do not match, and when they are unable to change, the literati have chosen to retreat and remain alone. A negative and helpless attitude to life. This is also a kind of literati's integrity. As a result, a large number of reclusive subjects appeared in the painting works, forming a unique aesthetic orientation of the Yuan Dynasty. The research on the point view of landscape painting and the aesthetic orientation of the painter in Yuan Dynasty is scattered in some articles or expositions, but there is no more systematic and complete study. This paper takes the point view of landscape painting in Yuan Dynasty and the aesthetic orientation of the painter as the research object. In connection with the background of the times and the overall trend of culture at that time, This paper analyzes the aesthetic orientation of literati painters in Yuan Dynasty by analyzing the application and characteristics of landscape paintings, which are represented by four Yuan schools (using the method of poetry, calligraphy and painting mutual reference). At the same time, it strengthens our important understanding of the application of "spot view" in landscape painting. It is also conducive to the formation of the innovative form of landscape painting, showing the unique aesthetic orientation of our time. Through the study of the landscape painting of the Yuan Dynasty, it reveals the unique aesthetic orientation produced in a specific era. It has undeniable value and significance.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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相關(guān)期刊論文 前1條

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