本文選題：虛實觀　切入點：筆墨　出處：《中央美術(shù)學院》2017年碩士論文　論文類型：學位論文

【摘要】："虛實觀"有著很深的哲學淵源,既隱含于禪宗思想里,也體現(xiàn)在道家思想中。在中國畫的畫面中無不滲透著"虛實觀"。"虛實觀"是中國畫的審美觀念,中國畫中講究筆墨的濃淡、疏密、提按節(jié)奏與空間布白之美,即計白當黑,通過有筆墨處引起人們對無筆墨處的意外聯(lián)想,以求達到"點畫之間皆有意"。本文在對八大山人的身世、年表、交友、詩抄、題款進行詳細分析的基礎上,結(jié)合八大山人在思想上有禪道兼容并蓄的傾向,對其作品中的"虛實觀"展開討論,筆者收集了大量的作品資料,以時間為基點從筆墨與布白兩個方面對八大山人不同時期的作品進行分析。首先是從筆墨的角度來分析虛實觀,有筆處濃淡相間、干濕有致、虛實相生。其次是從空白的角度來分析,筆墨與布白本身就是虛實對比,布白的虛實、大小應有節(jié)奏,才能使畫面的意境更空靈幽遠。
[Abstract]:There is a deep philosophical origin in "the view of reality and vanity", which is not only implied in Zen thought but also reflected in the thought of Taoism. In the picture of Chinese painting, it is permeated with "view of reality and reality", which is the aesthetic idea of Chinese painting. Chinese painting pays attention to the thick and thin of ink and brush, and puts forward the beauty of white by rhythm and space, that is to say, when white is black, it causes people's unexpected association of no pen and ink through the place of pen and ink. In order to achieve "the intention between painting". On the basis of detailed analysis of the life, chronology, friendship, poetry copy and theme of the Bada Mountain people, this paper combines the ideological tendency of the eight Great Mountain people to be tolerant of Zen and Taoism. The author has collected a great deal of materials about his works, and discussed the concept of "the reality and the emptiness" in his works. On the basis of time, this paper analyzes the works of the eight great mountain people in different periods from the aspects of pen and ink and cloth white. First of all, from the perspective of pen and ink, it analyzes the concept of virtual reality. Secondly, from the perspective of blank analysis, pen and ink and cloth white itself is the contrast between reality, white, size and rhythm, in order to make the artistic conception of the picture more empty and distant.
【學位授予單位】：中央美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212

【參考文獻】

相關期刊論文 前5條

1 朱良志;;八大山人藝術(shù)的孤獨精神[J];文藝爭鳴;2010年16期

2 王亦e，

本文編號：1594210