本文選題：元末 + 文人山水畫　； 參考：《渤海大學》2013年碩士論文

【摘要】：北宋郭若虛在《圖畫見聞志》中論五代花鳥“徐黃異體”，提出“黃家富貴，徐熙野逸”。黃荃、徐熙代表在朝和在野兩種生存方式，也分別代表院體和士體兩種審美趣味。筆者認為，相對于宋代院體山水畫，元末文人山水畫在前人公認的“高逸”論調(diào)下存在一定“野逸”的成分，本文以元末士體代表畫家為例，論及的“野逸”包括社會環(huán)境和審美取向兩方面：從社會環(huán)境上看，元末繪畫的“野逸”依托于在野文人的群體性隱逸生活，處于閑適不羈的生活狀態(tài)。大批遺民文人身份從職業(yè)畫家轉(zhuǎn)向業(yè)余畫家，繪畫不再為政教服務(wù)，而在自娛。這是當時社會的普遍性特征，也是野逸形成的直接原因； 從審美取向上看，“野逸”是一個相對概念，是相對于前朝繪畫變革的程度而言，“野”與“逸”在繪畫作品中是對立統(tǒng)一的，由宋入元，宋代理學思想有所淡化，蘇軾明確劃分文人畫和畫工畫的界限，至元末審美觀發(fā)生了變異，由觀物究理轉(zhuǎn)向觀心求性。元末山水畫家“逸筆草草”中含法度與理性，與唐裝飾性的金碧、青綠山水大相迥異，繼宋高格、古雅之后形成率性樸拙的畫風，，直抒胸臆又不脫離客體物象。其“野逸”不及清初四僧“野逸派”的狂怪，是一個繼承、流變，托古改制的過程，其相對獨立的筆墨趣味開啟了明清后世“野逸派”畫風的濫觴，起著承前啟后的作用。
[Abstract]:Guo Ruoxu in the Northern Song Dynasty on the five dynasties flowers and birds "Xu Huang alien", put forward "Huang family rich, Xu Xieye Yi." Huang Quan, Xu Xi represents the two ways of living in Korea and opposition, and also represents two kinds of aesthetic taste: court style and scholar style. The author thinks that compared with the Yuan Dynasty, the literati landscape painting of the late Yuan Dynasty has a certain element of "wild life" under the theory of "Gao Yi" recognized by the forefathers. This article takes the scholar of the Yuan Dynasty as an example to represent the painter. From the point of view of the social environment, the "wild life" of the painting in the end of Yuan Dynasty is based on the group seclusion life of the opposition literati and is in the state of leisure and unruly life. A large number of literati from professional painter to amateur painter, painting no longer serve the church, but in their own entertainment. This was the universal characteristic of the society at that time, and also the direct cause of the formation of the wild Yi. In terms of aesthetic orientation, "Yeyi" was a relative concept and a relative degree to the change of painting in the previous dynasty. "Wild" and "Yi" are unity of opposites in painting works. From Song Dynasty to Yuan Dynasty, the Neo-Confucianism thought of Song Dynasty was desalinated, Su Shi clearly divided the boundary between literati painting and painters painting, until the end of Yuan Dynasty, the aesthetic standards changed, from the view of the matter to the view of the mind. At the end of the Yuan Dynasty, the painters of the late Yuan Dynasty, "the brush and grass" contain the law and reason, which is different from the decorative Jin Bi in the Tang Dynasty and the green landscape. After Song Gaoge, the quaint and elegant form a straightforward style of painting, expressing one's mind directly and not separating from the object image. It is a process of inheriting, changing and transforming the system of ancient times. Its relatively independent style of calligraphy and ink opened the origin of the painting style of "Yeyi School" in the later Ming and Qing dynasties, and played a role in connecting the past with the future.
【學位授予單位】：渤海大學
【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：2007752