本文選題：宗炳 + 《畫山水序》�。� 參考：《云南師范大學》2014年碩士論文

【摘要】：劉宋南朝時期宗炳的《畫山水序》是中國繪畫美學史上最開始探討山水美學的著作。文中明確提出“澄懷味象”、“暢神”、“臥游”等核心觀點，為后世自然山水的審美觀念及其繪畫理論奠定了極其深厚的影響，魏晉時期士人的崇尚自我蔑視禮法及其追求人文意識覺醒的思想觀念，極大的影響了宗炳的人生觀與意識形態(tài)，使得他在受儒、釋、玄、道等心跡的影響下，更加關(guān)注于老莊之道：以“天人合一”的心性感悟自然，，以“逍遙游”的姿態(tài)體驗山水之道，進而讓山水畫達到“臥游”、“暢神”的審美意境。故本文著重以老莊之道對宗炳藝術(shù)觀念的影響及其《畫山水序》的核心觀點兩個部分為出發(fā)點，闡述內(nèi)在的美學意蘊。本文首先對宗炳的生平、時代背景及其思想淵源作出初步的梳理與探討。并述闡述了老莊之“道”對宗炳山水審美意識形態(tài)的滲透，以形而上客觀哲學思維對宗炳美學意識的影響及其在其繪畫理論中的體現(xiàn)，讓老莊之“道”在繪畫中化為圣人之境，指引賢者以山水來“媚道”，讓人與自然達到“天人合一”的意境，同時還要求賢者以“虛靜”、“心齋”、“坐忘”之性情，以“游”的心態(tài)達到“心與物游”，使得心與物相融、情與景相合。接著從《畫山水序》的重要美學命題出發(fā)，以主體“澄懷味象”的山水審美心境為旨要，剖析“澄懷味象”、“山水以形媚道”、“應(yīng)會感神”等觀點，從山水表現(xiàn)的角度，指明“以形寫形以色貌色”、“豎畫三寸，當千仞之高”等，更從審美意境的角度，提出山水“臥游”、“暢神”的意境，突出藝術(shù)所具有的審美特征，從而形成一個完整的山水審美體系。最后論述宗炳藝術(shù)思想及《畫山水序》在中國古代山水畫論中的歷史地位及其研究的理論價值及產(chǎn)生的深遠意義。 本文正是基于宗炳美學思想及《畫山水序》在山水畫和山水畫論中所具有的里程碑的地位，所蘊含的豐富的美學思想，對其進行深入的闡述剖析。
[Abstract]:Zong Bing's preface to Landscape painting in the Song and Southern dynasties of Liu was the first work in the history of Chinese painting aesthetics to explore landscape aesthetics. In this paper, the author puts forward the core viewpoints such as "clear and enchanted taste", "unobstructed spirit", "lying on tour" and so on, which has laid a profound influence on the aesthetic concept and painting theory of natural landscape in later generations. During the Wei and Jin dynasties, the scholars' ideology of advocating self-contempt for etiquette and the awakening of their humanistic consciousness greatly influenced Zong Bing's outlook on life and ideology, which made him under the influence of Confucianism, Buddhism, metaphysics, Taoism and so on. Pay more attention to the way of Laozhuang: to understand nature with the heart of "the unity of nature and man", to experience the way of landscape with the posture of "free and unfettered", and then to make landscape painting achieve the aesthetic conception of "lying down and swimming" and "unobstructed spirit". Therefore, this paper focuses on the influence of Laozhuang Dao on Zong Bing's artistic concept and the two core viewpoints of painting landscape preface, and expounds the intrinsic aesthetic implication. In this paper, the life of Zong Bing, the background of the era and its ideological origin were preliminarily combed and discussed. It also expounds the infiltration of "Tao" of Laozhuang to Zong Bing's aesthetic ideology, the influence of metaphysical objective philosophical thinking on Zong Bing's aesthetic consciousness and its embodiment in his painting theory, so that the "Tao" of Laozhuang can be transformed into the realm of sage in painting. To guide the virtuous to "seduce the path" with the mountains and rivers, so that people and nature can achieve the artistic conception of "harmony of nature and man". At the same time, they are also asked to use the temperament of "empty quiet", "heart Zhai", "sitting and forgetting", and to achieve "heart and material travel" with the mentality of "swimming". So that the heart and things to merge, the feelings and the scene. Then, starting from the important aesthetic proposition of "painting landscape preface" and taking the aesthetic state of landscape appreciation of the main body as the aim, this paper analyzes the views of "clear and enchanted taste image", "beautiful way of landscape", "feeling spirit", and so on, from the angle of landscape expression. It is pointed out that "form is written in shape and color in color", "three inches in vertical painting, as the height of a thousand climbing", and so on. From the point of view of aesthetic conception, the artistic conception of "lying down and swimming" and "unobstructed spirit" are put forward to highlight the aesthetic characteristics of art. So as to form a complete landscape aesthetic system. At last, it discusses the historical position of Zong Bing's artistic thought and the preface of painting landscape in the theory of ancient Chinese landscape painting, the theoretical value and the profound significance of the study. This article is based on Zong Bing's aesthetic thought and the landmark position in landscape painting and landscape painting theory.
【學位授予單位】：云南師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

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相關(guān)期刊論文 前3條

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本文編號：1829113