本文選題：天人合一 + 山水畫�。� 參考：《山東理工大學》2014年碩士論文

【摘要】：“天人合一”是中國傳統(tǒng)哲學的根本觀念之一,這一觀念由莊子最早闡述，后來被漢代思想家董仲舒發(fā)展為天人合一的哲學思想體系，并以此為基礎建立了中華傳統(tǒng)文化的主體�！疤烊撕弦弧庇^念指明了人與自然的辯證統(tǒng)一關(guān)系，，是一種和諧共生共存的關(guān)系�！疤烊撕弦弧庇^念對中國傳統(tǒng)藝術(shù)的深刻影響在繪畫領域表現(xiàn)得最為明顯。尤其中國傳統(tǒng)山水畫追求的是天地之大美，著力表現(xiàn)天地萬物的生機活力和一草一木、一山一水的生命情調(diào)，表現(xiàn)一種宇宙的生命精神。因此，藝術(shù)家在作品中所傾注的創(chuàng)作熱情也必然融合著天地之氣，神靈之魂，必然具有超越自我的精神品格。在這一觀念的影響下，中國傳統(tǒng)山水畫更重視人的主體意識，倡導主客體的高度融合，使繪畫超越了對客觀物象表層的描繪，從而顯示主體內(nèi)在的精神，追求意境的幽遠。 本論文主要從山水畫的表現(xiàn)手法、意境等方面對“天人合一”觀念在山水畫中的藝術(shù)呈現(xiàn)進行研究。“天人合一”觀念與中國傳統(tǒng)山水畫的創(chuàng)作和“天人合一”觀念在當代山水畫中的體現(xiàn)是本論文的重點，文中還結(jié)合古代和當代的山水畫作品研究“天人合一”觀念的具體體現(xiàn)。通過對作品的分析本論文得出以下結(jié)論:“天人合一”的審美思想引導了中國傳統(tǒng)繪畫的藝術(shù)走向，并逐漸形成了自己的文脈。中國傳統(tǒng)山水畫的發(fā)展也正是沿著這條文脈延伸、發(fā)展和創(chuàng)新著。因此，繼承和發(fā)揚“天人合一”觀念，對于推動今后中國山水畫的發(fā)展，也具有重要的現(xiàn)實意義。
[Abstract]:"Harmony of Heaven and Man" is one of the fundamental concepts of Chinese traditional philosophy, which was first expounded by Zhuangzi, and later developed by the thinker Dong Zhongshu of the Han Dynasty into a philosophical system of the unity of nature and man. And on this basis, established the main body of Chinese traditional culture. The concept of "the unity of nature and man" indicates the dialectical and unified relationship between man and nature, which is a harmonious and symbiotic relationship. The profound influence of the concept of "harmony of man and nature" on Chinese traditional art is most obvious in the field of painting. Chinese traditional landscape painting, in particular, pursues the beauty of heaven and earth, exerting itself to express the vitality of the universe and the life sentiment of a plant, a mountain and a water, and to express the life spirit of the universe. Therefore, the creative enthusiasm of the artist in his works is bound to blend the spirit of heaven and earth, the soul of the spirit, and the spirit of transcending himself. Under the influence of this idea, Chinese traditional landscape painting pays more attention to the subject consciousness of people, advocates the high fusion of subject and object, makes the painting beyond the description of the surface of the objective object image, thus showing the inner spirit of the subject and pursuing the secluded distance of the artistic conception. This paper mainly studies the artistic presentation of the concept of "the unity of nature and man" in landscape painting from the aspects of expression technique and artistic conception of landscape painting. The emphasis of this paper is the combination of nature and man, the creation of traditional Chinese landscape painting and the embodiment of the concept of "harmony of nature and man" in contemporary landscape painting. The paper also combines ancient and contemporary landscape paintings to study the concrete embodiment of the concept of the unity of nature and man. Through the analysis of the works, this paper draws the following conclusions: the aesthetic thought of "the unity of nature and man" has guided the art trend of Chinese traditional painting, and gradually formed its own context. The development of Chinese traditional landscape painting is extending, developing and innovating along this context. Therefore, to inherit and carry forward the concept of "harmony of nature and man" is of great practical significance to promote the development of Chinese landscape painting in the future.
【學位授予單位】：山東理工大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

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