本文選題：山水畫(huà) + 龔賢　； 參考：《山東建筑大學(xué)》2014年碩士論文

【摘要】：明末清初的中國(guó)畫(huà)壇,特別是山水畫(huà),是以崇尚古人、光復(fù)宋元筆意為主流。到了清代,由于外族入侵中原,中原漢族文化了嚴(yán)重沖擊。其中,一部分明代官宦后裔與文人現(xiàn)則隱居山林,以文學(xué)藝術(shù)的形式宣泄著對(duì)外族統(tǒng)治的不滿。另一部分文人畫(huà)家擇選效力于朝廷,他們的地位成為當(dāng)時(shí)不能撼動(dòng)的權(quán)威。 龔賢,這位生活在明末清初的藝術(shù)巨匠,在當(dāng)時(shí)是獨(dú)樹(shù)一幟的畫(huà)家。他沒(méi)有去迎合當(dāng)時(shí)一味的模仿古人、缺乏自然氣息的“仿古畫(huà)”。相反的,在他歸隱山林的幾十年里,他學(xué)古而不擬古,在學(xué)習(xí)宋元畫(huà)家的基礎(chǔ)上更加豐富了用墨的技法,他對(duì)的積墨法的運(yùn)用繼承了古人的精髓,形成了自己獨(dú)特的筆墨語(yǔ)言。他的繪畫(huà)造型,是他在歸隱山林的幾十年里,對(duì)自然的物象歸納出了自己獨(dú)特的造型符號(hào)。這種符號(hào)化的藝術(shù)表達(dá)語(yǔ)言也是中國(guó)山水畫(huà)中“程式化”語(yǔ)言的表現(xiàn)。他所描繪的大多是金陵一帶的地貌特點(diǎn),南方的水汽和丘壑的地貌特征是他創(chuàng)作的主要題材,并且在龔賢的畫(huà)面上被發(fā)揮得淋漓盡致。龔賢的山水畫(huà)特別是在積墨法上的運(yùn)用,在中國(guó)繪畫(huà)史上起著承前啟后的作用,他不僅對(duì)前人的用墨技法做了充分的學(xué)習(xí)和總結(jié),而且對(duì)以后的畫(huà)家特別是近代的山水畫(huà)家產(chǎn)生了重要的影響。 本文主要從龔賢的繪畫(huà)技法、繪畫(huà)藝術(shù)語(yǔ)言和表達(dá)的特殊意境角度來(lái)闡釋龔賢作為明末清初的山水畫(huà)家在繪畫(huà)史上所起到的重要作用。并且從“藝術(shù)符號(hào)學(xué)”的角度,去嘗試解讀龔賢的繪畫(huà)中所產(chǎn)生的“現(xiàn)代美”對(duì)近現(xiàn)代畫(huà)家所產(chǎn)生的影響。
[Abstract]:In the late Ming and early Qing dynasties, Chinese painting, especially landscape painting, was dominated by advocating the ancients and restoring the pen meaning of Song and Yuan dynasties. In the Qing Dynasty, due to foreign invasion of the Central Plains, the Han culture of the Central Plains had a serious impact. Among them, some of the descendants of officials and literati in the Ming Dynasty lived in seclusion in the mountains, expressing their dissatisfaction with the alien rule in the form of literature and art. Another group of literati painters chose to serve in the court, their position became an unshakable authority. Gong Xian, an art magnate who lived in the late Ming and early Qing dynasties, was a unique painter at that time. He did not cater to the imitation of the ancients, the lack of natural flavor of the "antique painting." On the contrary, in the decades of his returning to Shanlin, he learned the ancient but not the ancient, on the basis of learning the Song and Yuan painters, he enriched the technique of using ink, his application of the accumulation of ink inherited the essence of the ancients, and formed his own unique language of pen and ink. His painting modeling, in the past decades, he summed up the natural image of his own unique modeling symbols. This symbolic artistic expression language is also the expression of "stylized" language in Chinese landscape painting. Most of what he describes is the geomorphological features of Jinling, the southern water vapor and the geomorphologic features of Qiu Hsi are the main themes of his creation, and they are displayed incisively and vividly in Gong Xian's pictures. Gong Xian's landscape painting, especially its application in ink accumulation, plays an important role in the history of Chinese painting. And later painters, especially the modern landscape painters had an important impact. This article mainly from Gong Xian's painting technique, the painting artistic language and the expression special artistic conception angle to explain Gong Xian's important function in the painting history as the late Ming and the early Qing Dynasty landscape painter. And from the angle of "art semiotics", it tries to interpret the influence of "modern beauty" in Gong Xian's paintings on modern painters.
【學(xué)位授予單位】：山東建筑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 姜豐;蘇珊·朗格的藝術(shù)創(chuàng)作論[J];南京師大學(xué)報(bào)(社會(huì)科學(xué)版);1994年01期

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本文編號(hào)：2067401