本文選題：山水畫 + 筆墨��； 參考：《東北師范大學(xué)》2017年碩士論文

【摘要】：在中國(guó)畫發(fā)展的歷史上,山水畫的地位是不可替代的。經(jīng)過了上千年的發(fā)展,山水畫出現(xiàn)了多種風(fēng)格和流派,創(chuàng)造了多種繪畫語(yǔ)言,作為山水畫必不可少的元素,筆墨的創(chuàng)新與發(fā)展直接影響畫家個(gè)人風(fēng)格的創(chuàng)造,對(duì)山水畫的筆墨概念的歷史生成具有時(shí)代意義。筆墨形式語(yǔ)言的發(fā)展史就是山水畫的發(fā)展史。本文從古代山水畫的起源、興盛、衰弱到多樣性的發(fā)展入手,簡(jiǎn)單分析了近現(xiàn)代山水畫的發(fā)展形勢(shì),發(fā)現(xiàn)山水畫筆墨概念與時(shí)代發(fā)展的關(guān)系,進(jìn)而總結(jié)山水畫筆墨概念的歷史生成。文章共分為四個(gè)部分,第一章從山水畫的興起引入,山水畫的形成受到人物畫和我國(guó)古代思想文化的影響成為了獨(dú)立的畫種,為山水畫的發(fā)展提供可能性,為山水畫筆墨概念的生成和創(chuàng)新奠定了基礎(chǔ)。第二章以傳統(tǒng)山水畫筆墨形式語(yǔ)言多樣發(fā)展為主線,分別講述唐代、宋元時(shí)期、明清時(shí)期的大師,以及時(shí)代變化對(duì)他們的影響。這時(shí)期的大師通過對(duì)客觀自然世界的主觀把握與抽象歸納,形成自己獨(dú)特的繪畫風(fēng)格和筆墨語(yǔ)言。時(shí)代變化,畫家在社會(huì)文化變遷的影響下,對(duì)山水畫本質(zhì)語(yǔ)言的表達(dá)不僅體現(xiàn)在用筆用墨上,還總結(jié)了筆墨語(yǔ)言的結(jié)構(gòu)規(guī)律,促進(jìn)了山水畫筆墨概念的生成。他們的作品不僅有高超的繪畫技巧還帶有不同的時(shí)代特征。第三章以近現(xiàn)代山水畫筆墨多樣性發(fā)展為主線,通過對(duì)黃賓虹、陸儼少、李可染、張大千、石魯、賈又福的分析,展示了這個(gè)時(shí)代的畫家筆墨的包容性和自我轉(zhuǎn)化的價(jià)值,顯示了筆墨語(yǔ)言探索領(lǐng)域的廣闊空間,開啟了現(xiàn)代山水畫的大門。在這一時(shí)期的山水畫語(yǔ)言的多樣性受到很多因素的影響,如創(chuàng)新意識(shí)的提升、西方繪畫的影響、自然景觀變化、審美標(biāo)準(zhǔn)等。讓繪畫語(yǔ)言更加注重表現(xiàn)自我,畫家不斷尋找與自然相適宜的筆墨形式去體現(xiàn)時(shí)代精神,彰顯不同時(shí)代的筆墨語(yǔ)言特征。最后一章的落腳點(diǎn)在山水畫筆墨概念的歷史生成上。首先總結(jié)了山水畫的發(fā)展,前人對(duì)山水畫筆墨概念的論述,然后分析了影響山水畫筆墨概念生成的因素。分析了自身因素包括筆墨本身和畫面要求。然后是主流文化對(duì)山水畫的影響,對(duì)山水畫筆墨概念的生成的影響,推動(dòng)了山水畫的發(fā)展,促進(jìn)文化傳承和弘揚(yáng)民族精神。山水畫的發(fā)展離不開筆墨概念的形成、筆墨語(yǔ)言的發(fā)展,筆墨創(chuàng)新,必將是深入傳統(tǒng),學(xué)習(xí)傳統(tǒng),體會(huì)自然,不斷創(chuàng)新,創(chuàng)造經(jīng)典,成為經(jīng)典,再成為傳統(tǒng)的循序發(fā)展過程。
[Abstract]:In the history of the development of Chinese painting, the position of landscape painting is irreplaceable. After thousands of years of development, landscape painting has emerged a variety of styles and schools, created a variety of painting languages, as an essential element of landscape painting, the innovation and development of ink and pen directly affect the creation of individual styles of painters. The historical generation of the concept of landscape painting is of great significance. The history of formal language is the history of landscape painting. Starting from the origin, prosperity, decline to diversity of ancient landscape painting, this paper briefly analyzes the development situation of modern landscape painting, and finds out the relationship between the concept of landscape painting and the development of the times. And then sum up the historical generation of the concept of landscape painting pen and ink. The article is divided into four parts. The first chapter is introduced from the rise of landscape painting. The formation of landscape painting is influenced by figure painting and ancient Chinese ideology and culture, which provides the possibility for the development of landscape painting. It lays a foundation for the creation and innovation of the concept of landscape painting. The second chapter focuses on the development of traditional landscape painting, including the masters of the Tang, Song and Yuan dynasties, the Ming and Qing dynasties, and the influence of the times on them. Through subjective grasp and abstract induction of the objective natural world, the master of this period formed his own unique painting style and brush and ink language. Under the influence of social and cultural changes, the expression of the essential language of landscape painting is not only reflected in the use of ink, but also summed up the structure of the brush and ink language, promoting the creation of the concept of landscape painting. Their works not only have superb painting skills, but also with different characteristics of the times. The third chapter takes the development of modern landscape painting as the main line, through the analysis of Huang Binhong, Lu Yanshao, Li Keran, Zhang Daqian, Shi Lu, Jia Youfu, it shows the value of inclusive and self-transformation of painters in this era. It shows the broad space in the field of the exploration of pen and ink language and opens the door of modern landscape painting. In this period, the diversity of landscape painting language is influenced by many factors, such as the promotion of innovation consciousness, the influence of western painting, the change of natural landscape, the aesthetic standard and so on. Let the painting language pay more attention to the expression of self, the painters are constantly looking for the appropriate brush and ink form with nature to reflect the spirit of the times, to highlight the characteristics of the different times of brush and ink language. The last chapter is based on the historical formation of the concept of landscape painting and ink painting. Firstly, it summarizes the development of landscape painting, discusses the concept of landscape painting pen and ink, and then analyzes the factors that affect the formation of landscape painting pen and ink concept. Analysis of its own factors, including pen and ink itself and screen requirements. Secondly, the influence of mainstream culture on landscape painting and the formation of the concept of landscape painting, promote the development of landscape painting, promote the cultural heritage and carry forward the national spirit. The development of landscape painting can not be separated from the formation of the concept of pen and ink, the development of the language of pen and ink, and the innovation of pen and ink, which is bound to be the deepening of tradition, the study of tradition, the understanding of nature, the constant innovation, the creation of classics, the becoming of classics, and the process of traditional sequential development.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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本文編號(hào)：1854944