本文選題：石濤 + 山水畫(huà)��； 參考：《中國(guó)藝術(shù)研究院》2015年碩士論文

【摘要】：皴法是中國(guó)山水畫(huà)最基本的語(yǔ)言元素,是經(jīng)過(guò)歷代畫(huà)家的努力而獨(dú)立出來(lái)的藝術(shù)程式,也是山水畫(huà)家情感表述的主要手段。所以探尋石濤山水畫(huà)法,皴法應(yīng)該作為最直接的元素和對(duì)象,而他的著作《畫(huà)語(yǔ)錄·皴法章第九》則為我們提供了最好的入門路徑。正是在《畫(huà)語(yǔ)錄·皴法章第九》中有關(guān)對(duì)“皴”的詮釋,使石濤的皴法及其風(fēng)格具有了獨(dú)立性和學(xué)術(shù)性。皴法不僅與自然山川相連,而且與藝術(shù)的本質(zhì)“一畫(huà)”相關(guān)。自然山JlI有其本身的藝術(shù)特質(zhì),自然山川、皴法與“一畫(huà)”是一個(gè)相互關(guān)聯(lián)、相互作用的整體。從這個(gè)整體中去理解皴法,才能理解皴法既是一種技術(shù),又不能脫離宇宙和繪畫(huà)整體,具有皴法的“一畫(huà)”,與藝術(shù)整體的“一畫(huà)”,相連相生,這才是皴法的真諦。石濤作畫(huà)提倡“無(wú)法而法”,滿紙筆墨縱橫飛舞、墨色紛披、恣意縱橫,他的畫(huà)可用“躁”、“粗”、“奇”、“野”、“質(zhì)”這幾個(gè)詞來(lái)概括,然而畫(huà)面“形”雖亂,但“神”并不亂,而且這種理念在其花鳥(niǎo)畫(huà)中,也得以更好的延伸。這種對(duì)水墨藝術(shù)的豐富性和延展性,來(lái)自石濤的內(nèi)心世界,他內(nèi)心世界的矛盾與平靜、希望與失望、得意與落寞、天真爛漫與孤僻,儼然成了他藝術(shù)創(chuàng)作的動(dòng)力源泉。石濤變幻莫測(cè)的畫(huà)風(fēng)以及他畫(huà)中各種各樣的皴法只是一個(gè)外在世界的展現(xiàn)樣式,展現(xiàn)樣式的來(lái)源確是他富麗堂皇的內(nèi)心世界。藝術(shù)來(lái)源于生活,藝術(shù)也來(lái)源于內(nèi)心,生活與造化,性情與心性,是藝術(shù)的載體也是藝術(shù)的本體,生發(fā)于混沌,遵從于內(nèi)心,才可能是一個(gè)水墨的新世界。
[Abstract]:The chapping method is the most basic language element of Chinese landscape painting. It is an independent art program through the efforts of painters of the past dynasties, and it is also the main means of emotional expression of landscape painters. Therefore, seeking Shitao landscape painting method, chapping method should be the most direct element and object, and his work "painting quotation chapping law chapter 9" provides us with the best way to get started. It is the interpretation of "chapping" in the ninth chapter of "painting quotation chapping method" that makes Shi Tao's chapping method and its style independent and academic. Chapping method is not only connected with natural mountains and rivers, but also related to the nature of art. Natural mountain JlI has its own artistic characteristics, natural mountains and rivers, chapping method and "a painting" is a interrelated, interactive whole. To understand the chapping method from this whole, we can understand that the chapping method is not only a kind of technology, but also can not be divorced from the universe and the painting as a whole. The "one painting" with the chapping method and the "one painting" of the whole art are linked to each other, which is the true meaning of the chapping method. Shi Tao's painting advocates "Law without being able", with ink and ink flying and dancing across and across the paper. His paintings can be summed up in the words "grumpy", "coarse", "strange", "wild" and "quality". However, the picture "shape" is chaotic. But "God" is not chaotic, and this idea in its flowers and birds painting, also can better extend. The richness and extensibility of ink and wash art come from Shi Tao's inner world, his inner world's contradiction and peace, hope and disappointment, complacency and desolation, innocence and seclusion, which has become the motive source of his artistic creation. Shi Tao's inscrutable painting style and various texturing methods in his paintings are just the display patterns of an external world, and the source of the display style is his magnificent inner world. Art comes from life, art also comes from the heart, life and creation, temperament and heart, is the carrier of art is also the Noumenon of art, born in chaos, obeying to the heart, can be a new world of ink and wash.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J212

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本文編號(hào)：1913704