本文選題：龔賢 + 山水畫　； 參考：《江蘇師范大學(xué)》2013年碩士論文

【摘要】：龔賢，清代著名山水畫家，“金陵八家”之首�？部赖娜松�(jīng)歷使他在視野上更加開闊，孜孜不倦的藝術(shù)追求使他在山水畫方面成就輝煌，其獨(dú)特的山水畫藝術(shù)是中國山水畫史上一道別致的風(fēng)景。龔賢一方面師法古人，以米氏的墨法為楷模，以董源、吳鎮(zhèn)的筆法為依托，以董其昌、黃公望的理論為指導(dǎo)，融眾家之長。另一方面他主張創(chuàng)新，認(rèn)為繪畫藝術(shù)源于自然，要有自己的想法才能做到“我用我法”，所以與眾不同的繪畫風(fēng)格成為他區(qū)別與同一時(shí)期其他畫家的顯要標(biāo)志。龔賢曾自謂“前無古人，后無來者”，如今我們從他的繪畫藝術(shù)中可見，此語并不為過。 本文主要研究龔賢山水畫中的樹法及其所畫樹的特征。眾所周知，龔賢繪畫“個(gè)性鮮明”，而他所表現(xiàn)的樹更是筆墨獨(dú)特、與眾不同。他在《課徒稿》和《話語錄》二書中記錄了各種樹的畫法，從入手第一筆講起，詳盡記載了作畫過程中容易出現(xiàn)的錯(cuò)誤及初學(xué)時(shí)應(yīng)該注意的細(xì)節(jié)，是初學(xué)者學(xué)習(xí)和臨摹的有利教材，為我們研究其樹法特征提供了寶貴的第一手資料。本文將以其《課徒稿》和《話語錄》為線索，從龔賢所記載的一筆一樹入手，，從一棵樹到一叢樹，從一種樹到不同類型的樹，從陽光下的樹到煙雨云霧中的樹，通過對(duì)樹的特點(diǎn)與其筆墨特征的細(xì)致分析，力圖窺視樹木與山石、樹木與水汀、樹木與泉屋之間的關(guān)系。經(jīng)過這些物象的襯托，我們似乎可以看到，其畫面中山前蒼翠欲滴的樹木看起來更加繁密，屋后錯(cuò)落有致的叢林感覺愈加悠遠(yuǎn)，云霧中若隱若現(xiàn)的枝葉更是披上了神秘的外衣…… 樹法關(guān)系到整個(gè)畫面的藝術(shù)效果，樹的成敗關(guān)系著整幅畫的成敗。筆者希望通過對(duì)龔賢樹法詳盡而全面的分析，總結(jié)出他的樹法特征，并結(jié)合當(dāng)代表現(xiàn)手法，探討出樹法表現(xiàn)規(guī)律，期望最終能夠?qū)崿F(xiàn)理論與實(shí)踐的完美統(tǒng)一，在自己的創(chuàng)作中加以應(yīng)用。
[Abstract]:Gong Xian, a famous landscape painter in Qing Dynasty, was the first of eight Jinling families. The bumpy life experience makes him more open in the field of vision, and his tireless artistic pursuit makes him achieve brilliance in landscape painting. His unique landscape painting art is a unique landscape in the history of Chinese landscape painting. On the one hand, Gong Xian imitated the ancients, taking Mii's Mohist method as a model, relying on Dong Yuan's and Wu Zhen's strokes, and taking Dong Qichang and Huang Gongwang's theory as the guidance. On the other hand, he advocates innovation, and believes that painting art originates from nature and can only be achieved by my own idea. Therefore, his distinctive painting style has become a prominent symbol of his distinction from other painters of the same period. Gong Xian once called himself "No one before, no one after", and now we can see from his painting art, this is no exaggeration. This paper mainly studies the tree method in Gong Xian's landscape painting and its characteristics. As we all know, Gong Xian's painting "personality is bright", and his performance of the tree is unique and distinctive. In his two books, the manuscript of the lesson and the quotation of the words, he recorded the drawing methods of all kinds of trees. From the beginning of the first stroke, he described in detail the mistakes that were likely to occur in the course of painting and the details that should be paid attention to when he first studied. It is a good teaching material for beginners to learn and copy, which provides valuable first-hand information for us to study its tree features. This article will take his manuscript of lesson and quotation as the clue, starting with the stroke tree recorded by Gong Xian, from one tree to a bunch of trees, from one tree to different types of trees, from trees under the sun to trees in smoke, rain and mist. Through the careful analysis of the characteristics of trees and their pen and ink, this paper tries to peer into the relationship between trees and rocks, trees and cement, trees and spring houses. Against these images, we can seem to see that the green trees in front of Zhongshan look more dense, the jungle behind them feels more distant, and the twigs and leaves in the clouds are clothed with mystery. The tree method relates to the artistic effect of the whole picture, and the success or failure of the tree relates to the success or failure of the whole painting. The author hopes that through the detailed and comprehensive analysis of Gong Xianshu method, the author summarizes his characteristics of tree method, and discusses the representation law of tree method combining with contemporary expression techniques, hoping to realize the perfect unification of theory and practice. Be applied in one's own creation.
【學(xué)位授予單位】：江蘇師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 魏靜;;龔賢山水畫中的意象裝飾性[J];書畫世界;2009年01期

本文編號(hào)：2012549