本文選題：丁衍庸 + 藝術(shù)道學(xué)　； 參考：《廣州美術(shù)學(xué)院》2017年碩士論文

【摘要】：丁衍庸(1904-1978),我國(guó)現(xiàn)代卓有成就的國(guó)畫(huà)大家,上世紀(jì)七、八十年代就飲譽(yù)海外。但是因?yàn)樗?949年移居香港,30年間與大陸一直處于隔絕狀態(tài),現(xiàn)在的大陸學(xué)人對(duì)衍庸所知甚少。20年來(lái),主要是港臺(tái)學(xué)者和個(gè)別海外學(xué)者對(duì)丁衍庸進(jìn)行了初步的評(píng)介和研究,學(xué)界對(duì)丁衍庸的生平節(jié)點(diǎn)和走過(guò)的藝術(shù)道路的研究較多,但是畫(huà)家研究、尤其是畫(huà)家思想、畫(huà)家的世界觀和藝術(shù)觀的研究顯得十分不足,畫(huà)家形象還沒(méi)有樹(shù)立起來(lái)。例如,有人說(shuō)丁衍庸是繼承八大山人藝術(shù)最全面的畫(huà)家(朗紹君語(yǔ)),但是,他與八大山人的思想與藝術(shù)的關(guān)系,學(xué)界仍然模糊,香港學(xué)者某些觀點(diǎn)還有待商榷。要打開(kāi)丁衍庸研究的局面,畫(huà)家研究亟待先行,本文則嘗試致力于此。本文研究發(fā)現(xiàn):第一,丁衍庸是一個(gè)傳統(tǒng)的文人。指導(dǎo)著丁衍庸終生事業(yè)的藝術(shù)思想是他經(jīng)過(guò)了長(zhǎng)期實(shí)踐和思考而形成的“藝術(shù)道學(xué)”。藝術(shù)道學(xué)源自易學(xué)的“道”“器”關(guān)系學(xué)說(shuō),它的核心是充分挖掘畫(huà)家的潛能,徹底放縱畫(huà)家的個(gè)性,致力于藝術(shù)的創(chuàng)新,追求個(gè)性藝術(shù)的極致。為了達(dá)到這一境界,丁衍庸認(rèn)為,藝術(shù)家應(yīng)該多變、勤學(xué)、“無(wú)關(guān)心”(無(wú)為)、“復(fù)歸于原始”。在丁衍庸自己的文章中,這一思想表露得比較分散和隱晦,以至于至今還沒(méi)有被人發(fā)現(xiàn)。第二,“藝術(shù)道學(xué)”正是丁衍庸與八大山人、徐渭等明清大寫(xiě)意畫(huà)家以及西方近代野獸派畫(huà)家馬蒂斯等人的思想與藝術(shù)交會(huì)之處。在藝術(shù)道學(xué)指導(dǎo)之下,丁衍庸對(duì)八大山人等人的藝術(shù)思想和創(chuàng)新精神作了激情洋溢的贊譽(yù)和說(shuō)明,而且匠心獨(dú)運(yùn),將寫(xiě)意藝術(shù)推進(jìn)到從“變形”到“無(wú)形”,最后“再造形”的、畫(huà)家個(gè)性和繪畫(huà)藝術(shù)結(jié)合無(wú)痕的新的境界,創(chuàng)造了大批獨(dú)具丁衍庸風(fēng)格的藝術(shù)形象,從思想上和藝術(shù)上都有所突破和創(chuàng)新。第三,丁衍庸的藝術(shù),詩(shī)、書(shū)、畫(huà)、印四樣俱全,丁衍庸的畫(huà),人物、山水、花鳥(niǎo)三門(mén)無(wú)一不精。丁衍庸除了建立了他的藝術(shù)道學(xué)思想和實(shí)現(xiàn)了大寫(xiě)意藝術(shù)的突破以外,他還把包含有香港文化元素的現(xiàn)代美術(shù)元素和平民元素帶進(jìn)了文人畫(huà),開(kāi)辟了文人畫(huà)大眾化的新道路。丁衍庸藝術(shù)最大的遺憾在于畫(huà)家長(zhǎng)期拘于香港一隅,失去了民族文化腹地的依托,丁衍庸作品主要出于文人畫(huà)室,不能進(jìn)入社會(huì)主流,他的畫(huà)筆最后定格在文人畫(huà)家和休閑畫(huà)家的地位上。
[Abstract]:Ding Yanyong, 1904-1978, China's modern and successful traditional Chinese painting people, last century, 70's, 80's to drink overseas reputation. However, because he moved to Hong Kong in 1949 and remained isolated from the mainland for 30 years, the mainland scholars now know very little about Yong Yan. In the past 20 years, it has been mainly Hong Kong and Taiwan scholars and individual overseas scholars who have made preliminary comments and studies on Ding Yanyong. There are many studies on the life of Ding Yanyong and the art road taken by the scholars, but the study of painters, especially the painter's thought, the painter's world outlook and the art view, is very insufficient, and the artist's image has not been established yet. For example, some people say that Ding Yanyong is the most comprehensive painter who inherits the art of the eight great mountain people (long Shaojun's speech), but the relationship between his thought and art is still vague in academic circles, and some views of Hong Kong scholars are still open to question. In order to open up the situation of Ding Yanyong research, painters' research is urgently needed, and this paper tries to devote itself to it. First, Ding Yanyong is a traditional scholar. The art thought guiding Ding Yanyong's lifelong career is the art Taoism formed by his long-term practice and thinking. Art Daoism originates from the theory of "Tao" and "instrument", whose core is to fully tap the potential of the painter, indulge the artist's individuality, devote himself to the innovation of art, and pursue the extreme of individual art. In order to achieve this, Ding Yanyong believes that artists should be changeable, diligent, "unconcerned," return to the original. " In Ding Yanyong's own article, the idea is so diffuse and obscure that it has not been discovered. Secondly, "Art Daoism" is exactly where the ideas and art of Ding Yanyong and Bada Shan people, Xu Wei and other Ming and Qing Dynasty freehand brushwork artists and Matisse, the western modern Beast painters, are intersected. Under the guidance of Art Daoism, Ding Yanyong praised and explained the artistic thought and innovative spirit of the eight great mountain people with passion, and was ingenious, pushing the art of freehand brushwork from "transformation" to "invisible". Finally, with the combination of painters' personality and painting art, a large number of unique artistic images with Ding Yanyong style have been created, which have made a breakthrough and innovation in thought and art. Third, Ding Yanyong's art, poetry, book, painting, printing, Ding Yanyong's paintings, characters, landscapes, flowers and birds. Ding Yanyong not only established his artistic Taoism thought and realized the breakthrough of freehand brushwork art but also brought modern art elements and civilian elements including Hong Kong cultural elements into literati paintings and opened up a new way for the popularization of literati painting. The greatest regret of Ding Yanyong art lies in the fact that the painter has been confined to a corner of Hong Kong for a long time and has lost the backing of the hinterland of national culture. Ding Yanyong's works mainly come from the literary studio and cannot enter the mainstream of society. His brushes were finally settled on the status of literati and leisure painters.
【學(xué)位授予單位】：廣州美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 華天雪;;留日畫(huà)家與中國(guó)畫(huà)改良[J];當(dāng)代美術(shù)家;2017年01期

2 彭吉象;;道:中國(guó)傳統(tǒng)藝術(shù)的精神性——藝的靈魂:道[J];美術(shù)大觀;2016年07期

3 高嵐;;香港美術(shù)中的“流寓”現(xiàn)象初探[J];美術(shù)教育研究;2014年13期

4 朱琦;;水墨雙城記——談香港與新加坡的水墨畫(huà)源流[J];美術(shù)觀察;2013年07期

5 喬志強(qiáng);;“中國(guó)畫(huà)會(huì)”史事鉤沉[J];湛江師范學(xué)院學(xué)報(bào);2012年01期

6 陳傳席;;評(píng)現(xiàn)代名家與大家·續(xù)·丁衍庸[J];國(guó)畫(huà)家;2011年03期

7 朱良志;;八大山人藝術(shù)的孤獨(dú)精神[J];文藝爭(zhēng)鳴;2010年16期

8 胡迎建;;五十年來(lái)八大山人研究綜述[J];江西科技師范學(xué)院學(xué)報(bào);2010年01期

9 鄧民亮;;跨越時(shí)空看丁衍庸的藝術(shù)[J];美術(shù);2009年03期

10 朱萬(wàn)章;;從“癸亥合作畫(huà)社”到“國(guó)畫(huà)研究會(huì)”——近現(xiàn)代美術(shù)語(yǔ)境中的嶺南傳統(tǒng)畫(huà)家[J];文藝研究;2008年12期

相關(guān)博士學(xué)位論文 前2條

1 張劍;心學(xué)與徐渭藝術(shù)思想研究[D];中央美術(shù)學(xué)院;2007年

2 呂鵬;湖社研究[D];中央美術(shù)學(xué)院;2007年

相關(guān)碩士學(xué)位論文 前6條

1 蔣俏麗;關(guān)于丁衍庸藝術(shù)生涯若干問(wèn)題的研究[D];中國(guó)美術(shù)學(xué)院;2016年

2 張雨;論十九世紀(jì)末二十世紀(jì)初日本對(duì)中國(guó)油畫(huà)的影響[D];蘇州大學(xué);2014年

3 曾舒叢;山川悲故國(guó)—八大山人早期山水畫(huà)風(fēng)格探究[D];江西師范大學(xué);2013年

4 田叢叢;論老子“道”的美學(xué)思想[D];東北師范大學(xué);2011年

5 秦安建;20世紀(jì)早期油畫(huà)“民族化”思潮研究[D];四川大學(xué);2007年

6 吳鵬;徐渭的藝術(shù)精神[D];貴州師范大學(xué);2005年

，

本文編號(hào)：1930787