本文選題：氣韻生動 + 傳統(tǒng)繪畫　； 參考：《鄭州大學》2013年碩士論文

【摘要】：“六法”作為指導中國畫創(chuàng)作和審美的最高法則,對其后中國繪畫的審美標準和審美取向產(chǎn)生了極其深遠的影響。論文以“六法”的核心“氣韻生動”為契入口,對氣韻生動發(fā)生的社會背景、理論和思想基礎(chǔ)、以及“氣”、“韻”的含義和產(chǎn)生過程作出相應的探究和論述；并對“氣韻生動”和“六法”的關(guān)系、“氣韻生動”的具體含義、理解角度,以及其后歷代畫家和繪畫理論家對其的繼承、發(fā)展進行了全面的探討。文中認為“氣韻生動”所產(chǎn)生的理論和思想基礎(chǔ)無疑繞不過當時的社會背景和傳統(tǒng)的“老莊玄學”的影響,這其中包括了 “道”、“玄”、“素”、虛實、有無,“得意忘象”等一系列的審美現(xiàn)象和審美意趣。在隨后的封建社會的各個時期,當時的審美取向和繪畫理論都無一例外的受到了“氣韻生動”這一核心法則的影響,例如“吳帶當風”、“萬類由心”、“意在筆先”、“畫盡意在”等審美意象的提出,都是對“氣韻生動”的繼承和發(fā)展,也是“氣韻生動”的踐行者和體現(xiàn)者�！皻忭嵣鷦印币矠樗卧院笪娜水嫷拇笮衅涞�,并最終成為中國繪畫的主流、占據(jù)大半壁江山提供了理論依據(jù)和思想源頭,其影響延綿至今。然而,自蘇軾開始的文人畫家在極力追求“氣韻生動”的同時,弱化了其它五法,使得“六法”這一審美體系出現(xiàn)了欠缺。味追求神韻、逸氣的繪畫理論占據(jù)中國畫壇的主宰地位,導致了中國繪畫發(fā)展偏離了傳統(tǒng)寫實觀念的審美追求,也導致其后數(shù)百年間中國繪畫病態(tài)前行,逐漸處于一種令人感覺缺憾和尷尬的狀態(tài)；直至“西學東漸”和其它姊妹藝術(shù)的介入和融合,人們對于形神關(guān)系的認識,對于“氣韻生動”和其他五法這一辨證的審美體系逐漸得到系統(tǒng)的、全面的繼承和發(fā)展。
[Abstract]:As the supreme rule to guide the creation and appreciation of Chinese painting, the "six methods" had a profound influence on the aesthetic standards and aesthetic orientation of Chinese painting. Taking the core of "six methods" as the entrance, the paper explores and discusses the social background, theory and ideological basis, the meaning and production process of "qi" and "rhyme". The relationship between "vivid charm" and "six methods", the concrete meaning of "vivid charm", the angle of understanding, and the inheritance and development of it by painters and painting theorists in successive dynasties are discussed in an all-round way. The paper holds that the theoretical and ideological basis of "vivid charm" can no doubt go around the social background at that time and the influence of the traditional "Laozhuang metaphysics", which includes: Tao, Xuan, Suk, vanity, have or not, and so on a series of aesthetic phenomena and aesthetic interest. In the various periods of feudal society that followed, the aesthetic orientation and painting theory at that time were all influenced by the core principle of "vivid charm", such as "Wu belt as the wind", "everything from the heart", "meaning before the pen". The putting forward of aesthetic image such as "painting with the best intention" is the inheritance and development of "vivid charm", and it is also the practitioner and embodiment of "vivid charm". "lively charm" also became the main trend of literati painting after Song and Yuan dynasties, and eventually became the mainstream of Chinese painting, which provided the theoretical basis and ideological source for most of the Chinese paintings, and its influence has been extended to this day. However, the literati painters who started from Su Shi tried their best to pursue "vivid charm" and weakened the other five methods, which made the aesthetic system of "six methods" appear deficient. The theory of taste and charm occupies the dominant position in the Chinese painting world, which leads to the development of Chinese painting deviating from the aesthetic pursuit of the traditional realistic concept and leading to the morbid advance of Chinese painting in the following hundreds of years. Gradually in a state of imperfection and embarrassment; until the involvement and integration of "Western learning to the east" and other sister arts, people's understanding of the relationship between form and spirit, The dialectical aesthetic system of "vivid charm" and other five methods has been inherited and developed in a systematic and comprehensive way.
【學位授予單位】：鄭州大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212

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本文編號：1932733