本文選題：李日華 + 繪畫��； 參考：《揚州大學》2017年碩士論文

【摘要】：晚明是政治腐敗、思想巨變的時代,也是文化藝術(shù)發(fā)展迎來鼎盛的時代,尤以繪畫藝術(shù)為最。伴隨繪畫創(chuàng)作實踐的繁榮,繪畫思想集前人大成也極為豐富成熟。李日華作為與董其昌、王惟儉齊名的三大“博物君子”之一,是晚明冠絕一時的書畫鑒藏大家,其在繪畫創(chuàng)作和鑒藏活動中所體現(xiàn)的美學思想值得研究。本文立足他的諸多論畫著作文本內(nèi)容,整理、分析、歸納,從認識論、創(chuàng)作論、鑒賞論三個方面闡述其繪畫美學思想。本文在引言和結(jié)語以外,共分四章。引言對文章的研究現(xiàn)狀、研究價值和研究方法作出介紹;結(jié)語對李日華繪畫思想體系作出總結(jié),并點明其鑒藏活動以作品本身藝術(shù)價值和歷史定位為依據(jù)對畫家作出評價的特點。第一章,介紹時代背景與李日華的生平交游情況,為后文對其繪畫思想的分析歸納打好基礎(chǔ)。第二章,考察李日華對繪畫兩個基本問題的認識,即對“韻”與“法”辯證關(guān)系和“德”與“藝”相互聯(lián)系的討論。針對晚明畫壇“取韻之風”盛行導致繪畫不講章法、空疏放誕的弊端,他提出要重視“真工實能”之跡,師古、師自然,在熟練掌握專業(yè)造型技法的基礎(chǔ)上“取韻”,實現(xiàn)繪畫構(gòu)造中“韻”與“法”的和諧統(tǒng)一。通過對“德”與“藝”的討論,得出人品決定畫品的結(jié)論。他所說的人品包含道德操守、文化涵養(yǎng)、才情風度三個方面內(nèi)容,并在多讀書、多探奇山水中獲得。第三章,創(chuàng)作論。李日華指出創(chuàng)作主體要具備“虛靜”的心態(tài),這種虛靜重在平時,在生活的態(tài)度與人格的修養(yǎng),而非僅指創(chuàng)作時的片刻沉靜。其次,繪畫要重視構(gòu)圖布置,善“取予”,工“選勝”,做到虛實相生、有無相間。最后,繪畫要以達到簡淡荒寒的意境為最高追求。第四章,鑒賞論。李日華提出繪畫要具備“寄情寓性”的娛樂審美目標,同時不違背“真工實能”的要求,緣情而發(fā),因性而成。他在前人的基礎(chǔ)上,提出“形”、“勢”、“韻”、“性”四個遞進層次的批評標準,以此衡量作品藝術(shù)水平的高低。
[Abstract]:The late Ming Dynasty was a time of political corruption, great change of thought, and a prosperous era for the development of culture and art, especially the art of painting. With the prosperity of painting creation practice, painting thought collection is also extremely rich and mature. Li Rihua, as one of the three "museurs" of Dong Qichang and Wang Weijian, is a collection of paintings and calligraphy in the late Ming Dynasty. The aesthetic thoughts embodied in his painting creation and collection activities are worthy of study. Based on his works, this paper expounds his aesthetic thoughts on painting from three aspects: epistemology, creationism and appreciation. Apart from the introduction and conclusion, this paper is divided into four chapters. The introduction introduces the research status, the research value and the research method of the article; the conclusion summarizes Li Rihua's painting thought system. It also points out the characteristics of its collection activities based on the artistic value and historical orientation of the work itself. The first chapter introduces the background of the times and the life of Li Rihua, laying a good foundation for the later analysis of his painting thought. The second chapter examines Li Rihua's understanding of two basic problems of painting, namely, the dialectical relationship between "rhyme" and "law" and the interrelation between "virtue" and "art". In view of the drawback that "the style of taking rhyme" prevailed in the late Ming Dynasty, he suggested that attention should be paid to the trace of "real work, real ability", division of ancient times and nature, "taking rhyme" on the basis of mastering professional modeling techniques skillfully. To achieve the harmonious unity of "rhyme" and "law" in painting structure. Through the discussion of "virtue" and "art", we draw the conclusion that character determines painting. He said that moral integrity, cultural integrity, talent and demeanor three aspects, and read more, explore the mountains and rivers. The third chapter, creation theory. Li Rihua pointed out that the creative subject should have the mentality of "empty and quiet", which emphasizes the attitude of life and the accomplishment of personality in peacetime, rather than just a moment of stillness at the time of creation. Secondly, painting should pay attention to composition layout, good "take", work "win", so that the void and reality, with or without. Finally, painting should reach the artistic conception of simplicity and desolation as the highest pursuit. Chapter four, appreciation theory. Li Rihua put forward that painting should have the entertainment aesthetic goal of "sending feelings and combining feelings", and at the same time, it did not violate the requirements of "real work and real ability". On the basis of his predecessors, he put forward four progressive standards of criticism, namely "form", "potential", "rhyme" and "sex", so as to measure the artistic level of his works.
【學位授予單位】：揚州大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J201

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