本文選題：傅抱石 + 山水畫��； 參考：《浙江師范大學(xué)》2016年碩士論文

【摘要】：對于傅抱石其人,許多人是因為他曾經(jīng)為人民大會堂創(chuàng)作了著名的《江山如此多嬌》而知道他,還有一些人是因為他的作品《麗人行》在拍賣市場創(chuàng)下了千萬元的成交記錄而了解他,但真正對于他在美術(shù)史論方面的研究,以及他的繪畫創(chuàng)作成就卻知之者甚少。傅抱石最初以史論研究而著名,他的美術(shù)史論研究詳細(xì)而透徹,從他第一本對中國繪畫歷史研究的著作開始,他的一生大約寫了一百五十余篇(本)美術(shù)論著,達(dá)兩百萬字之多。這數(shù)字即使對一個專門的理論研究工作者來說,也是很可觀的。而他每天還要作畫,即使在病中也從未放下過畫筆,他的一生共畫過兩千多張國畫,在繪畫之余能完成這樣大量的文字工作,其勤奮治學(xué)和刻苦鉆研的精神,實在不能不使人衷心敬佩。傅抱石先生作為一位大畫家,而在理論著作方面又有如此建樹,這在美術(shù)史上是十分罕見的。相較于他在史論方面的成就,他的繪畫成就則更令人贊嘆。他年輕時對傳統(tǒng)中國畫的學(xué)習(xí),非但沒有使他被傳統(tǒng)的中國山水畫所束縛,反而成為了他創(chuàng)新創(chuàng)造的堅實積淀。正是因為他對傳統(tǒng)的深入研究和摹寫,他對中國文人畫的推崇,才有了他獨有的“抱石皴”。在他的《壬午重慶畫展自序》中,他詳細(xì)地剖析了自己的作品,介紹了作畫動機、根據(jù)、創(chuàng)作意圖和創(chuàng)作方法。從選題、構(gòu)圖、腹稿、初稿,一直到落筆創(chuàng)作,包括整個作畫過程中的想法,他風(fēng)趣地提出：“文人畫”三字,為中國畫的三原則,文指文學(xué)上的修養(yǎng),人指高尚的人格,畫指畫家的繪畫技巧。他說這三原則同時也是中國畫的基本精神,這三者缺一不可。他認(rèn)為“一幅畫就應(yīng)該像一首詩、一闕歌或一篇散文”,作畫不是玩弄技巧而應(yīng)從畫的主旨表現(xiàn)出發(fā),再考慮工具材料等,力求達(dá)到完美的效果。最令人佩服的,是他主張中國畫必須“變”,也就是中國畫要創(chuàng)新、革新的問題。他說“中國畫要‘變’,毫無疑問”。他的一生都處于不斷地創(chuàng)作追求中,他不斷地促進(jìn)中國畫的“變”,變得更新、更“動”、更有生命力。傅抱石的這種主張和實踐也正是后來他的繪畫對后世畫壇起著重要影響的根本原因。
[Abstract]:As for Fu Baoshi, many people know him because he wrote the famous "so much of Jiangshan" for the Great Hall of the People, Others know him because of his work, the Beauty Trail, which has set a record of tens of millions of dollars in the auction market, but very little is known about his research in art history and his achievements in painting creation. Fu Baoshi was first famous for his historical studies. His art theory was detailed and thorough. From his first book on the history of Chinese painting, he wrote about 150 works of fine arts in his life. As many as 2 million words. This figure is considerable even for a dedicated theoretical researcher. And he still has to paint every day. Even in his illness, he has never put down his brush. In his life, he has painted more than 2,000 Chinese paintings. He can finish such a large amount of writing work after drawing, and his spirit of hard work and hard work in studying and studying hard. I can't help but admire it from the bottom of my heart. It is rare in art history for Mr Fu Baoshi to be a great painter and to do so in theoretical works. His achievements in painting are more impressive than his achievements in historical theory. When he was young, his study of traditional Chinese painting not only did not bind him to the traditional Chinese landscape painting, but became a solid accumulation of his innovation and creation. It is because of his in-depth study and description of tradition, his praise of Chinese literati painting, that he has his unique "Bao Shi chan". In his "preface to Chongqing painting Exhibition", he analyzes his works in detail, introduces the motive, basis, intention and method of painting. From topic selection, composition, ventrilograph, first draft, all the way to writing and writing, including the idea of the whole painting process, he put forward wittingly: "literati painting" is the three principles of Chinese painting, the text refers to literary accomplishment, and man refers to noble personality. Painting refers to a painter's skill in painting. He said that these three principles are also the basic spirit of Chinese painting, which are indispensable. He thinks that "a painting should be like a poem, a song or an essay". Instead of playing with techniques, one should proceed from the main purpose of the painting, and then consider the materials of tools to achieve a perfect effect. The most admirable thing is that he advocates that Chinese painting must be changed, that is, Chinese painting should be innovated and innovated. He said, "Chinese painting is going to change, there is no doubt about it." His whole life is in the constant creation pursue, he unceasingly promotes the Chinese painting "the change", becomes the renewal, "moves", has the vitality. This idea and practice of Fu Baoshi is also the fundamental reason why his painting plays an important role in later generations.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J212

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