本文選題：創(chuàng)新 + 有法��； 參考：《曲阜師范大學(xué)》2014年碩士論文

【摘要】：本文把對繪畫“有法”、“無法”的思考做為切入點，層層深入的分析石濤在繪畫創(chuàng)新方面的努力與成就。 首先我通過思考石濤為什么要提出繪畫“有法無法論”來進一步分析石濤繪畫美學(xué)的思想體系及其哲學(xué)基礎(chǔ)，在此基礎(chǔ)上了解到“有法無法論”的具體內(nèi)容是指繪畫由無法到有法再到我用我法的學(xué)習(xí)創(chuàng)作過程。這里提到的“法”，在我看來是歷代畫家在繪畫實踐過程中所獲得的經(jīng)驗，然后我們把這些經(jīng)驗歸納起來作為我們學(xué)習(xí)的規(guī)范法則。然而法則是需要我們在學(xué)習(xí)的基礎(chǔ)上去突破的，而不是用來束縛我們的陳規(guī)舊俗。既要繼承傳統(tǒng)繪畫技法又要發(fā)展，創(chuàng)造新的法則，要與時俱進做到“筆墨當(dāng)隨時代”①。石濤通過他一生的躬身踐行，實現(xiàn)了“我用我法”，留下了數(shù)不勝數(shù)的繪畫杰作，我們從他的每一幅畫中都可以看出他在創(chuàng)新方面的努力自己取得的成果。在不斷實踐的基礎(chǔ)上，石濤也形成了一系列的繪畫理論，這也是他創(chuàng)新的成就。他提出史無前例的“一畫論”用來引導(dǎo)大家正確對待前人已有的法則，，指導(dǎo)我們?nèi)コ角叭顺阶约骸?石濤有關(guān)于繪畫的理論，都來自于他孜孜不倦的繪畫實踐。他早年對前人繪畫的廣泛學(xué)習(xí)以及他在詩書方面的積淀都為他后來的創(chuàng)新奠定了堅實的基礎(chǔ)。他的足跡遍及大江南北，“用情筆墨之中，放懷筆墨之外”②，將自己的真實情感充分的灌注到筆墨之中，他的每一幅畫作都是由心而生的。他在創(chuàng)作過程中時刻保持清醒，克服客觀事物的干擾，將“我”自由自在的表現(xiàn)在他的作品中，同時在題跋中用“我自用我法”、“任是清湘一家法”等字眼來標(biāo)榜自己穿越古法的決心。石濤作為一個成功的畫家同樣也經(jīng)歷了繼承傳統(tǒng)和革故創(chuàng)新的發(fā)展歷程。他在對待傳統(tǒng)的態(tài)度方面不同于董其昌所倡導(dǎo)的摹古之風(fēng)。他首先用“古人未立法之前，不知古人法何法”來抨擊摹古的行為。石濤否定“法”的權(quán)威性，認為“法”是在繪畫實踐過程中逐漸形成的，是今人對前人繪畫法則的總結(jié)。石濤用他的實際行動向我們演示了如何對待傳統(tǒng)，如何“開今”。他在深入研究了古人繪畫作品之后意識到“師古人之心”才是學(xué)習(xí)傳統(tǒng)而又不會被傳統(tǒng)所囿的關(guān)鍵，只有深入的研究了傳統(tǒng)、領(lǐng)會了古人的美學(xué)原理，才能不停留在“師古人之跡”的膚淺認識的階段，最終才能做到“借古開今”。 石濤獨特的繪畫理論是基于他大膽的創(chuàng)新嘗試之上的。他從自己內(nèi)心真實的感受出發(fā)，“畫受墨，墨受筆，筆受腕，腕受心。③”也正因為如此，石濤才會有很多大膽嘗試與創(chuàng)新。他在筆墨技法、構(gòu)圖、不同景物的表現(xiàn)方法、畫家的藝術(shù)態(tài)度和品性等方面都進行了大膽的嘗試同時也有他自己獨到的見解。 以上贅述，無非只是想表明石濤無論是在理論方面還是繪畫方面都是當(dāng)之無愧的創(chuàng)新典范。由于他的創(chuàng)新精神是每個時代不可或缺的，所以他才被他之后的歷代畫家追捧為藝術(shù)導(dǎo)師。他指導(dǎo)我們要在實踐基礎(chǔ)上標(biāo)新立異，跟隨時代去創(chuàng)造新的法則，創(chuàng)立有獨立見解的“自由國度”。
[Abstract]:This article takes the thinking of painting "law" and "unable" as the breakthrough point, and analyzes the efforts and achievements of Shi Tao in the innovation of painting.
First of all, by thinking about why Shi Tao should put forward painting "there is no law" to further analyze the ideological system and philosophical foundation of Shi Tao's painting aesthetics, on this basis, it is understood that the concrete content of "the method can not be discussed" refers to the process of painting from the inability to the law to my method of learning. In my view, it is the experience gained by the artists of the past dynasties in the process of painting practice, and then we sum up these experiences as the norm of our study. However, the law requires us to break through on the basis of learning, not to fetter our old and old customs. The law is to keep pace with the times "with the times". Shi Tao, through his lifelong practice, realized "I use my law" and left countless masterpieces of painting. From each of his paintings, we can see the achievements he made in his efforts in innovation. On the basis of continuous practice, Shi Tao also formed A series of painting theories, which are his innovative achievements, put forward an unprecedented "one painting theory" to guide us to correctly treat the existing laws of predecessors and guide us to transcend our predecessors.
Shi Tao's theory of painting comes from his tireless painting practice. His early years of extensive study of previous paintings and the accumulation of his poems and books laid a solid foundation for his subsequent innovation. Fully perfused into the pen and ink, each of his paintings was born of heart. He kept sober and overcame the interference of the objective things in the process of creation. He displayed the "I" in his works freely. At the same time, he used the words "I use myself" and "the Qing Xiang one family law" in the inscription. As a successful painter, Shi Tao, as a successful painter, has also experienced the development of tradition and revolutionary innovation. His attitude towards tradition is different from the style of imitation advocated by Dong Qichang. He first criticized the act of copying the ancient times with "the ancients did not have legislation before and did not know the law of the ancients". In the process of painting practice, "law" is formed gradually in the process of painting practice. It is a summary of the painting rules of the predecessors. Shi Tao demonstrated how to treat tradition and how to "open the present" with his practical action. After studying the paintings of ancient people, he realized that "the heart of the teacher and the ancient people" was the learning tradition and not the tradition. The key to the problem is to deeply study the tradition and comprehend the aesthetic principles of the ancient people, so that we can not stop in the superficial understanding of "the traces of the ancient people of the teachers" and finally achieve the "borrow the ancient times".
Shi Tao's unique painting theory is based on his bold innovative attempt. He starts from his inner feelings, "painting ink, ink and pen, wrist and wrist." it is precisely because of this, that Shi Tao has a lot of bold attempts and innovations. He is in the style of pen and ink, the expression of different scenes, the artistic attitude of the painter and the artistic attitude of the painter. Character and other aspects of the bold attempt, but also his own unique insights.
The above statement is just to show that Shi Tao is a well deserved model in both theory and painting. Because his spirit of innovation is indispensable in every era, he is pursued by his successive artists as an art tutor. He instructs us to mark new differences on the basis of practice and follow the times. Create a new rule and create a free state with independent opinions.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205

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