本文選題：惲南田 + 南田畫跋��； 參考：《云南師范大學》2013年碩士論文

【摘要】：惲南田是清初著名的山水、花鳥畫家，他與清初“四王”、“吳歷”并稱為清初六大家，集中反映了他繪畫思想的《南田畫跋》，是他長期從事山水、花鳥畫創(chuàng)作的經(jīng)驗總結(jié)。在汗牛充棟的畫論著作中，是一部出色之作，有不少精辟的見解。本文結(jié)合南田所處的社會歷史背景、他的生平、師承關(guān)系，以及作品方面來探析他的繪畫理論思想，其中，在對待傳統(tǒng)與創(chuàng)新的問題上，頗有新意，對后世影響很深，他既師法古人，又師法“造化”，推崇一種“非古非今、洗脫畦徑”的藝術(shù)風格，以及他對中國文人傳統(tǒng)和筆墨在繪畫當中的應(yīng)用也有很高的價值，追求一種“筆中之筆，墨外之墨”繪畫境界，體現(xiàn)了他對“意”、“情”、“境”等方面的追求，形成了“逸”的繪畫境界，，這些都體現(xiàn)了他終生對藝術(shù)高雅格調(diào)的追求，對于研究我國繪畫思想史和美學史都有重要的價值。
[Abstract]:Yun Nantian is a famous painter of landscape, flowers and birds in the early Qing Dynasty. He, together with the "four kings" and "Wu Li" in the early Qing Dynasty, is called "the six early Qing Dynasty", which reflects his painting thoughts "Nantian painting Postscript", which is a summary of his long-term experience in the creation of landscape, flower and bird paintings. It is an excellent work in the overflowing works of painting theory, and there are many incisive opinions. This article combines the social and historical background of Nantian, his life, teacher-bearing relationship, and works to explore his painting theory, in which, in dealing with the problems of tradition and innovation, there are quite new ideas, which have a deep impact on later generations. He not only imitated the ancients, but also taught the method of "creation", advocating a kind of artistic style of "not ancient and modern, eluting the trail", as well as his high value to the Chinese literati tradition and the application of pen and ink in painting, and pursuing a kind of "pen in the pen". The painting realm of the ink outside the ink reflects his pursuit of "meaning", "emotion", "boundary" and so on, and forms the painting realm of "ease", which reflects his pursuit of artistic elegance all his life. For the study of the history of Chinese painting ideology and aesthetic history have important value.
【學位授予單位】：云南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J205

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相關(guān)期刊論文 前10條

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本文編號：1943772