本文選題：陰山山脈 + 山水畫(huà)��； 參考：《內(nèi)蒙古大學(xué)》2013年碩士論文

【摘要】：一方水土養(yǎng)一方人,一方山水滋養(yǎng)一方畫(huà)家,反過(guò)來(lái),一方畫(huà)家也有責(zé)任表現(xiàn)一方山水。 雄偉壯麗的陰山山脈是從內(nèi)蒙古自治區(qū)巴彥淖爾境內(nèi)的狼山以東到河北省張家口西北部,陰山山脈包括狼山、烏拉山、大青山等。其中以大青山最為峻美多姿。陰山山脈從內(nèi)蒙古自治區(qū)中部的包頭到中東部的烏蘭察布以西分為兩段,包頭東到呼和浩特以西薩拉齊境內(nèi)為大青山的九峰山段,它是陰山山脈最為代表性的山體,群峰聳立,幽澗鳴泉。薩拉齊以東的呼和浩特地區(qū)為大青山東段,大青山山地地形特點(diǎn)是南坡山勢(shì)峻峭,樹(shù)木稀少,山地落差大,溝內(nèi)濕潤(rùn)。北坡平緩,長(zhǎng)滿了各種雜樹(shù),包括：杉樹(shù)、白楊、白樺、油松等。陰山一帶自古以來(lái)就是一個(gè)多民族雜居的地方。在此繁衍生息的古代北方游牧民族有匈奴、敕勒、柔然、鮮卑、蒙古等。他們喝著黃河水、騎著草原馬,在這美麗富繞的陰山腳下創(chuàng)造了輝煌燦爛的陰山文化。 如何在山水畫(huà)中對(duì)陰山山脈進(jìn)行藝術(shù)表現(xiàn)是筆者長(zhǎng)期以來(lái)一直致力的課題。為此,本人長(zhǎng)期深入陰山山脈的大青山、九峰山等地考察寫(xiě)生,完成畫(huà)稿無(wú)數(shù),從中感受它的雄偉、崇高、厚重和蒼涼,比較它的四季變幻和寒暖陰晴。陰山山脈不同于南岳衡山和北岳恒山,更不同于秀美的黃山和險(xiǎn)峻的華山,它自有它的容貌、它的性格和它獨(dú)有的魅力。表現(xiàn)它,也應(yīng)有不同的繪畫(huà)形式和不同的繪畫(huà)語(yǔ)言。 中國(guó)的山水畫(huà)傳統(tǒng)深厚,博大精深,無(wú)論南派還是北派都自成體系,達(dá)到了極高的境界。古人強(qiáng)調(diào)師造化,今人強(qiáng)調(diào)對(duì)景寫(xiě)生,無(wú)論古人還是今人,都強(qiáng)調(diào)面對(duì)大自然表現(xiàn)獨(dú)特感受,形成自身面貌。為陰山傳神寫(xiě)照,也應(yīng)探索出一條與陰山個(gè)性相適應(yīng)的路子來(lái)。我深信這種探索是十分有益的,它必將為內(nèi)蒙古山水畫(huà)的繁榮和發(fā)展貢獻(xiàn)一己的微薄之力。 本文從陰山山脈的地貌特征出發(fā),結(jié)合內(nèi)蒙古地區(qū)山水畫(huà)家的創(chuàng)作成果和自身的繪畫(huà)實(shí)踐,理論聯(lián)系實(shí)際地從審美的角度和學(xué)理的層面探索陰山山脈的藝術(shù)表現(xiàn),這種探索不僅有助于拓展中國(guó)山水畫(huà)的創(chuàng)作題材和創(chuàng)作領(lǐng)域,而且對(duì)豐富中國(guó)山水畫(huà)的技法和理論也有參考價(jià)值。
[Abstract]:A side of water and soil, one side of the landscape nourishes one side of the painter, in turn, one side of the painter also has the responsibility to represent one side of the landscape. The majestic Yinshan Mountains are from the east of Langshan in Bayan Nur, Inner Mongolia Autonomous region, to the northwest of Zhangjiakou, Hebei Province. Among them, Daqingshan is the steepest and most beautiful. The Yinshan Mountains are divided into two sections from Baotou in the central Inner Mongolia Autonomous region to the west of Wulanchabu in the central part of the Inner Mongolia Autonomous region. From Baotou to Salaqi to the west of Hohhot, it is the Jiufengshan section of the Daqingshan Mountains. It is the most representative mountain in the Yinshan Mountains. A quiet stream sings a spring. The eastern part of Daqingshan is the Hohhot region east of Saraqi. The mountain terrain of Daqingshan is characterized by steep south slope, sparse trees, large mountain drop, and humid gully. The north slope is smooth, covered with all kinds of mixed trees, including: Chinese fir, poplar, Bai Hua, Pinus tabulaeformis and so on. The Yinshan area has been a multiracial place since ancient times. The ancient northern nomads who lived here included Huns, royal lords, Rouran, Xianbei, Mongolia, and so on. Drinking the Yellow River and riding the steppe horses, they created a splendid Yinshan culture at the foot of the beautiful and rich Yinshan Mountains. How to express the Yinshan mountain range in landscape painting is a long-term task that the author has been working on for a long time. For this reason, I have long gone deep into Daqing Mountain, Jiufeng Mountain and other places of Yin-shan Mountains, completed numerous sketches, felt its majesty, sublime, heavy and desolate, and compared its changing seasons and cold warm Yin and clear. The Yinshan mountain range is different from the Hengshan Mountain of Nanyue and the Hengshan Mountain of the Northern Yue, but also different from the beautiful Huangshan Mountain and the precipitous Huashan Mountain. It has its own features, its character and its unique charm. Show it, also should have different painting form and different painting language. Chinese landscape painting tradition is profound, broad and profound, whether the south or the north into their own system, reached a very high level. The ancients stressed the division of creativity, modern people emphasize the painting of the scene, both the ancients and modern people, they all stressed the unique feelings of facing nature, forming their own appearance. For Yinshan to portray the spirit, should also explore a way to adapt to Yinshan personality. I am convinced that this exploration is very beneficial, it will contribute to the prosperity and development of Inner Mongolia landscape painting a modest contribution. Based on the geomorphological features of the Yinshan Mountains, combined with the artistic achievements of the landscape painters in Inner Mongolia and their own painting practice, this paper explores the artistic expression of the Yinshan Mountains from the angle of aesthetics and theory. This exploration not only helps to expand the subject matter and field of Chinese landscape painting, but also has reference value to enrich the techniques and theories of Chinese landscape painting.
【學(xué)位授予單位】：內(nèi)蒙古大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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