本文選題：石濤 + 山水畫(huà)��； 參考：《江蘇師范大學(xué)》2013年碩士論文

【摘要】：石濤，清初四僧之一，作為非正統(tǒng)派其中一員，他的創(chuàng)新意識(shí)表現(xiàn)地較為明顯。身為明皇室貴族的他，想恢復(fù)舊朝而不得已，曾一心向皇家問(wèn)賞心未果的他，，把自己的一生都寄托在繪畫(huà)之上。他的山水畫(huà)自由縱恣，靈動(dòng)活潑。石濤對(duì)于中國(guó)畫(huà)的貢獻(xiàn)，不僅在筆墨技法創(chuàng)新上，方面很多，而本文主要研究的是創(chuàng)新方法。 本研究運(yùn)用了圖像學(xué)、探索性研究方法，在其藝術(shù)思想及繪畫(huà)理論的基礎(chǔ)上，結(jié)合著他各個(gè)階段的作品分析，總結(jié)出幾方面關(guān)于其山水畫(huà)繪畫(huà)方法的創(chuàng)新依據(jù)。 經(jīng)過(guò)研究得出以下結(jié)論：山水布局章法上之新在于“截?cái)喾ā钡倪\(yùn)用，截取自然山川中優(yōu)美或打動(dòng)自己的景色來(lái)描繪；在意境方面，他把山川與大海相比擬，畫(huà)面呈現(xiàn)出前所未有的浩瀚氣勢(shì)；他認(rèn)為畫(huà)不是為詩(shī)而作，而是觸景深情后畫(huà)的詩(shī)。石濤繪畫(huà)以墨著名，墨是表現(xiàn)氤氳之氣的，氣又是石濤勝過(guò)諸大家之處，怎樣用墨法表現(xiàn)氤氳之氣是他創(chuàng)新的關(guān)鍵點(diǎn)；在筆法上又分別從獨(dú)特的點(diǎn)染、皴、圈法等幾個(gè)方面表現(xiàn)：石濤創(chuàng)造了“拖泥帶水皴”、“大披麻皴”、點(diǎn)是石濤畫(huà)作的標(biāo)志，大多作品都是滿紙?zhí)c(diǎn)，但他并不是隨意亂點(diǎn)，也不是為了點(diǎn)而點(diǎn)、圈作為石濤藝術(shù)的秘密，也是一種表現(xiàn)畫(huà)面中形象的一種手法，同時(shí)圈在畫(huà)面中也作為一種繪畫(huà)元素呈現(xiàn)出來(lái)；這眾多的方面等都是他山水畫(huà)創(chuàng)新方法表現(xiàn)之處。另外還有一些創(chuàng)新之處，“平頭樹(shù)”松樹(shù)的表現(xiàn)方法；類似于水彩的墨法，可以稱為東方的“印象派”。 此研究的意義在于繪畫(huà)技法的完善與思想理論的充實(shí)，希望本文能夠讓讀者更加全面、深入地了解石濤的繪畫(huà)方法的創(chuàng)新。
[Abstract]:Shi Tao, one of the four monks in the early Qing Dynasty, as one of the unorthodox school members, was more obvious in his creative consciousness. He was a Ming Royal aristocrat who wanted to restore the old Dynasty. He once had a heart to ask the royal family the unfruitful man and put his life on the painting. His landscape painting was free and lively. Shi Tao's painting of Chinese painting. The contribution is not only in the innovation of ink and brush techniques, but also in the innovation method.
In this study, using the method of iconography and exploration, on the basis of his art thought and painting theory, combined with the analysis of his works at various stages, it summarizes the innovative basis of his landscape painting methods in several aspects.
Through the study, the following conclusions are drawn: the new method of landscape layout is the use of "truncated method", which intercepts the beautiful or moving scenery of natural mountains and rivers. In terms of artistic conception, he compares mountains and rivers to the sea, and the picture shows unprecedented immense momentum; he thinks that the painting is not for poetry but after the deep feeling of the scene. Shi Tao's paintings are famous for painting, ink is the expression of the Qi, Qi is Shi Tao more than all of the people, how to use the ink method to express the dense gas is the key to his innovation; in the pen method, the unique dyeing, chapped, circle method and other aspects of performance: Shi Tao created "dragging water chapped", "big chapped chapped", point is stone The symbols of the paintings are mostly full of paper and moss, but he is not random or point to point. As a secret of the art of Shi Tao, it is also a way of showing the image in the picture. At the same time, the circle is also presented as a kind of painting element; all these aspects are the innovative methods of his landscape painting. In addition, there are some innovations, such as the "flat head" pine tree's performance method, similar to the watercolor ink method, which can be called the Oriental "Impressionist school".
The significance of this study lies in the perfection of painting techniques and the enrichment of the theory and theory. It is hoped that this article can make readers more comprehensive and deeply understand the innovation of Shi Tao's painting methods.
【學(xué)位授予單位】：江蘇師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

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2 周怡;感覺(jué)的聯(lián)通與繪畫(huà)的偏離——關(guān)于石濤的審美觀[J];齊魯藝苑;2001年01期

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本文編號(hào)：1925002