發(fā)布時(shí)間：2018-02-20 23:18

  本文關(guān)鍵詞： 山水畫 南宋畫院 馬遠(yuǎn) 一角 詩畫融合　出處：《浙江師范大學(xué)》2016年碩士論文　論文類型：學(xué)位論文

【摘要】：詩畫自古雖是不同的兩種藝術(shù)形式,但二者在傳統(tǒng)中國畫的表現(xiàn)中卻是密不可分的。自古無論詩人或是畫家,他們對于自然萬物的體會與感慨,都會付諸于詩里或是畫中,詩人愛賞畫,畫家喜題詩,二者相結(jié)合才能更為詳盡的表達(dá)藝術(shù)家的所思所想。藝術(shù)與文學(xué)都是相通的,藝術(shù)家們對社會、自然以及人生的思考和認(rèn)識以詩或畫等方式表現(xiàn)出來,而詩歌與繪畫二者之間的聯(lián)系隨著社會發(fā)展變得異常緊密,它們于內(nèi)容和形式上互相滲入影響,融會貫通,這些在南宋著名畫家馬遠(yuǎn)身上表現(xiàn)得尤為具體而突出。馬遠(yuǎn)在繼承前人筆墨的基礎(chǔ)上,脫離了原有的院體畫范式,獨(dú)創(chuàng)“一角”式山水畫構(gòu)圖,以大量“留白”來突顯南方山水的空靈秀麗之美,并將詩意內(nèi)涵巧妙的融匯于畫面之中,使得畫面意境高遠(yuǎn)而含蓄,開創(chuàng)了新的南宋院體風(fēng)格,使南宋院體畫走向了當(dāng)時(shí)畫壇的主導(dǎo)地位,對后世山水畫都產(chǎn)生了極其深遠(yuǎn)的影響。本文以馬遠(yuǎn)的“一角”式山水畫中的詩情畫意作為主要研究對象,從魏晉時(shí)期山水畫的萌芽到南宋山水畫之變,解讀山水繪畫的演變對馬遠(yuǎn)的影響。再以馬遠(yuǎn)的幾幅代表性作品來分析他的山水畫中構(gòu)圖的創(chuàng)新性結(jié)合,以及馬遠(yuǎn)山水畫中的詩畫融合現(xiàn)象,并探尋二者之間的聯(lián)系,解析其中蘊(yùn)含的美學(xué)原理,體會其詩意繪畫中的深遠(yuǎn)意境與情懷。
[Abstract]:Poetry and painting are two different forms of art since ancient times, but they are inseparable in the performance of traditional Chinese painting. Since ancient times, whether poets or painters, their experience and feelings for everything in nature will be put into poetry or painting. Poets love to appreciate paintings, painters like poems, the combination of the two can be more detailed expression of the artist's thoughts and thoughts. Art and literature are interlinked, artists to society, The thinking and understanding of nature and life are manifested by poetry or painting, and the relationship between poetry and painting becomes very close along with the development of society, and they infiltrate into each other in content and form. These were particularly specific and prominent in Ma Yuan, a famous painter of the Southern Song Dynasty. On the basis of his predecessors' paintings, Ma Yuan broke away from the original pattern of the courtyard painting, and created the original composition of the "corner" style landscape painting. With a large number of "white space" to highlight the beauty of the southern landscape, and the poetic connotation of the clever fusion in the screen, making the artistic conception of the picture high and implicit, creating a new style of the Southern Song Dynasty, It makes the style painting of the Southern Song Dynasty go to the leading position of the painting world at that time, and has a profound influence on the landscape painting of later generations. This article takes the poem and painting in Ma Yuan's "one corner" style landscape painting as the main research object. From the germination of landscape painting in Wei and Jin dynasties to the change of landscape painting in Southern Song Dynasty, this paper interprets the influence of the evolution of landscape painting on Ma Yuan, and then analyzes the innovative combination of composition in his landscape painting with several representative works of Ma Yuan. And Ma Yuan landscape painting in the poetry and painting fusion phenomenon, and explore the relationship between the two, analysis of the aesthetic principles contained therein, to understand the profound artistic conception and feelings in his poetic painting.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J212

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本文編號：1520313