本文選題：宋畫　切入點：空靈美　出處：《西安美術(shù)學(xué)院》2016年碩士論文

【摘要】：宋畫中的空靈之美是中國繪畫非常重要的美學(xué)思想之一,主要源于道家和禪宗哲學(xué),自隋唐到兩宋,空靈美學(xué)達到興盛。主要源于宋代所提出的“崇文抑武”和“理學(xué)”思想的影響較大�！俺缥囊治洹笔沟梦幕辛烁蟮陌l(fā)展空間;而“理學(xué)”兼容并包的吸收了道家、玄學(xué)、佛學(xué)思想,使得理學(xué)更加思辨和哲學(xué)化。在這樣的社會背景和歷史根源下使得宋代文化空前繁榮。主要表現(xiàn)在文學(xué)、繪畫、宋瓷、琴曲等方面,尤以繪畫為代表的空靈之美最具典型性。宋畫所體現(xiàn)出的空靈之美,在南宋山水中體現(xiàn)的最為精妙,南宋山水較之北宋山水的磅礴雄渾在意境上給人的感覺則以幽深、開闊、靜謐為主,即空靈之美。這種意境最為后世所尊崇。巧妙的運用空白、詩意的追求、典雅的設(shè)色、虛實相生的意蘊這些鮮明的繪畫特點使得南宋山水在繪畫史上獨樹一幟。并在南宋山水畫意境營造呈現(xiàn)空靈之美上作了很好鋪墊。典型的作品有馬遠的《寒江獨釣圖》畫面寂靜遼闊,物象高度簡潔概括。即所謂的極簡主義,運用到畫面中,則是給人以無限的想象空間。類似的作品南宋很多。南宋山水的空靈之美可以說影響深遠。在當(dāng)代工筆人物畫創(chuàng)作中,由于受西方繪畫理念的影響,繪畫面貌繁雜多樣,尤在畫面構(gòu)圖上,以滿溝圖的作品形式居多,這種滿溝圖追求的是繁、密、實、畫面多不留白,畫面在極力追求極節(jié)刻畫的同時缺失了一些意趣,而這里的意趣正是南宋山水畫中的靈魂—空靈之美。所以筆者認為通過解讀南宋山水畫中的藝術(shù)特色對于改變這種狀況具有很好的調(diào)適作用。山水畫和人物畫雖屬不同題材,但兩者在意境營造上還是有共通之處的。如在畫面構(gòu)圖上,宋郭熙的《林泉高致》中的“三遠法”就明確總結(jié)了山水畫在散點透視影響下,即“平遠、高遠、深遠”在不同透視方法下所營造的畫面意境給人的審美情感的差異。而當(dāng)代工筆人物畫在西方的透視影響下,使得工筆人物畫在不同的透視觀照方法上所產(chǎn)生的審美情感也不盡相同,如不同的視角、視距在畫面構(gòu)圖中給人的不同審美情感,所以無論古今繪畫在透視上給人的心理審美情感的變化是相同的,這點適用于任何畫種。當(dāng)然了還有其他方面的,如淡雅的設(shè)色,意象的形神兼?zhèn)涞冗@些都是構(gòu)成工筆人物畫空靈之美的條件,本文只從構(gòu)圖上展開分析。本文正是通過對南宋山水畫為代表的宋畫的空靈之美進行解讀,進而研究在當(dāng)代工筆人物畫上如何營造空靈之美,通過從構(gòu)圖方法上舉例分析,使得當(dāng)代工筆人物畫創(chuàng)作在借鑒南宋山水畫的營造法式中取得一些切實可行的方法,讓當(dāng)代工筆人物畫在營造空靈之美上成為可能,再延展到筆者的畢業(yè)創(chuàng)作構(gòu)圖方法,使空靈之美在工筆人物畫在營造空靈美上切實可行。
[Abstract]:The beauty of emptiness in Song Dynasty painting is one of the most important aesthetic thoughts in Chinese painting, mainly derived from Taoism and Zen philosophy. From the Sui and Tang dynasties to the Song Dynasty, the idyllic aesthetics flourished.Mainly from the Song Dynasty put forward by the "worship of the text to suppress the Wushu" and "Neo-Confucianism" has a greater impact."worship of literature and suppression of military force" makes culture have more space for development, while "Neo-Confucianism" absorbs Taoism, metaphysics and Buddhism thought, which makes Neo-Confucianism more speculative and philosophical.Under such social background and historical origin, the Song Dynasty culture flourished unparalleled.Mainly in literature, painting, Song porcelain, piano and other aspects, especially painting as the representative of the beauty of the most typical.The beauty of emptiness embodied in the Song Dynasty is the most exquisite in the landscape of the Southern Song Dynasty. Compared with the majestic beauty of the landscape in the Northern Song Dynasty, the feeling of the majestic majesty of the landscape in the Southern Song Dynasty is deep, open and quiet, that is, the beauty of the emptiness.This artistic conception is most respected by later generations.The ingenious use of blanks, the pursuit of poetry, the elegant color setting, the meaning of the void and the reality make the landscape of the Southern Song Dynasty unique in the history of painting.And in the Southern Song Dynasty landscape painting artistic conception construction presents the emptiness beauty has made the very good foreshadowing.Typical works of Ma Yuan's "Han River fishing" picture is silent vast, the image is highly concise summary.That is, minimalism, applied to the picture, is to give people unlimited space for imagination.There were many similar works in the Southern Song Dynasty.The idyllic beauty of the Southern Song Dynasty can be said to have a profound impact.In the creation of contemporary meticulous figure paintings, due to the influence of western painting concepts, the painting features are complex and diverse, especially in the composition of the picture, most of which are in the form of the full ditch drawing, which pursues numerous, dense, solid and non-white pictures.At the same time, there is a lack of interest, which is the soul of the Southern Song landscape painting-the beauty of the emptiness.Therefore, the author thinks that the artistic characteristics of landscape painting in the Southern Song Dynasty have a good adjustment to change this situation.Landscape painting and figure painting belong to different subjects, but they still have something in common.For example, in the picture composition, the "three far methods" in Song Guo Xi's "Lin Quan Gao Zhi" clearly summed up the landscape paintings under the influence of scattered point perspective, that is, "Pingyuan, Gao Yuan,"Far-reaching "the difference of aesthetic emotion created by the artistic conception of the picture under different perspective methods."Under the influence of the western perspective, the contemporary meticulous figure painting has different aesthetic feelings in different perspective methods, such as different visual angle, different aesthetic emotion of visual distance in the composition of the picture.So the change of psychological aesthetic emotion in perspective of painting is the same, which can be applied to any kind of painting.Of course, there are other aspects, such as elegant color, image form and spirit, and so on.This article is through to the south Song Dynasty landscape painting as the representative song painting the empty spirit beauty carries on the interpretation, then studies in the contemporary fine brushwork figure painting how to create the empty spirit beauty, through from the composition method example analysis,It makes the contemporary meticulous figure painting creation obtain some practical methods in drawing lessons from the French style of landscape painting in the Southern Song Dynasty, and makes it possible for contemporary meticulous figure painting to create the beauty of emptiness, and then extends to the author's graduation composition method.To make the beauty of the empty figure painting in the creation of the spirit of the United States is feasible.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J212

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