本文選題：文徵明 + 桃源繪畫��； 參考：《中央美術(shù)學(xué)院》2017年碩士論文

【摘要】：東晉陶淵明《桃花源記》面世以來,其文中描繪的帶有世外仙境意味的"桃花源"成為了中國諸多文人心目中的"烏托邦",歷代以來,以"桃花源"為題材的繪畫創(chuàng)作不在少數(shù),其中在明代中晚期的江南地區(qū)十分盛行,文徵明作為明代中晚期的江南地區(qū)文人圈的核心人物,曾先后創(chuàng)作過數(shù)幅"桃源"題材的作品。本文以文徵明的"桃源繪畫"為主要研究對象,首先對陶淵明《桃花源記》文中所描寫的"桃源"意向進行分析,認為陶淵明在《桃花源記》中追求著遠離世俗社會,自由平等的美好桃源世界,其次探討了"桃源繪畫"的發(fā)展脈絡(luò),舉例對比歷代桃源繪畫的異同,最后梳理了文徵明"桃源繪畫"的創(chuàng)作時間以及陶詩書寫情況,著重分析了《桃園別境圖》和《桃源問津圖》的畫面語言和意境表現(xiàn),結(jié)合文徵明的生平際遇,歸納出文徵明的"桃源情結(jié)"——回到屬于自己的藝術(shù)田園,對安和美好生活的憧憬。明朝中晚期的江南地區(qū),像文徵明一樣經(jīng)世之志受挫,科考輒斥的失意文士并不少見,他們?nèi)胧藶楣俚脑竿貌坏綄崿F(xiàn),或者看透了官場的黑暗,選擇隱居的亦不在少數(shù),這一類文人對陶淵明詩境中營造的"桃源"這一隱居避世含義的題材有著特殊的情結(jié),從而大量創(chuàng)作《桃源圖》以此抒發(fā)自己志向的高潔,是明朝中后期"桃源繪畫"盛行的原因。
[Abstract]:Since the publication of Tao Yuanming of the Eastern Jin Dynasty, the "Peach Blossom Source", which is described in his text with the flavor of the world's fairyland, has become the "utopia" in the minds of many Chinese literati. Since the past dynasties, There are not a few paintings with "Taohuayuan" as the subject matter. Among them, it is very popular in Jiangnan area in the middle and late Ming Dynasty. Wen Zhengming is the core figure in the literati circle of Jiangnan area in the middle and late Ming Dynasty. Has created a number of "Taoyuan" theme works. This article takes Wen Zhengming's Taoyuan painting as the main research object, firstly analyzes the intention of "Taoyuan" described in the text of Tao Yuanming's the Story of Peach Blossom, and thinks that Tao Yuanming is pursuing to stay away from the secular society in the Book of Peach Blossom. Secondly, it discusses the development of Taoyuan painting, compares the similarities and differences of Taoyuan painting in past dynasties, and finally combs the writing time and writing situation of Taoyuan painting by Wen Zhengming. Focusing on the analysis of the picture language and artistic conception of Taoyuan and Taoyuan, combined with Wen Zhengming's life experience, he concluded that Wen Zhengming's "Taoyuan complex"-to return to his own art pastoral garden, A vision for Ann and a better life. In the south of the Yangtze River in the middle and late Ming Dynasty, as in Wen Zhengming, it was not uncommon for frustrated literati to experience the world like Wen Zhengming. Their desire to become an official was not realized, or they saw through the darkness of the officialdom, and there were not a few who chose to live in seclusion. This kind of literati has a special complex on the theme of "Taoyuan", which is the theme of seclusion and shelter, which is created in Tao Yuanming's poetic conception, so as to create "Taoyuan Pictures" in large quantities to express his ambition and cleanness. It is the reason why Taoyuan painting prevailed in the middle and late Ming Dynasty.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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本文編號：1918227