本文選題：張仃 + 焦墨山水畫�。� 參考：《河南師范大學(xué)》2014年碩士論文

【摘要】：焦墨山水作為一個(gè)新的繪畫門類，最早可以追溯至清代的程邃，但從完整的意義上講，程邃還不是一個(gè)純粹的焦墨山水畫家，因?yàn)樗玫氖强使P淡墨。近代的黃賓虹畫了很多焦墨山水的冊(cè)頁，大多是寫意，非常精彩。而真正把焦墨山水畫推向頂峰的是張仃。焦墨本是一種傳統(tǒng)的繪畫方法，古人常用焦墨來表現(xiàn)物象的輪廓，或用焦墨來醒目，而張仃純用焦墨來進(jìn)行山水畫寫生。使它成為一種獨(dú)特的山水畫形式，讓人為之震撼。張仃先生從70年代開始焦墨寫生，經(jīng)過近30年的實(shí)踐與探索，成為焦墨山水畫的突出代表。張仃無數(shù)次的深入太行山，他的焦墨山水畫，主要刻畫的是北方的太行山，用筆蒼勁，形成了雄健的繪畫風(fēng)格。張仃先生的焦墨山水畫造型實(shí)、重筆墨、氣感強(qiáng)。自明清以來，中國畫便少了北派山水的雄強(qiáng)與堅(jiān)硬。而變得溫和、平緩。張仃先生來自北方，更深愛著北方的土地，并且通過對(duì)北方大山的大量實(shí)地寫生，，重新崛起了風(fēng)骨雄健堅(jiān)硬的北派山水，喚起了雄強(qiáng)藝術(shù)傳統(tǒng)的回歸。對(duì)中國山水畫的發(fā)展具有重大的意義。張仃把自己的家園意識(shí)、人文情懷、和個(gè)人的英雄主義氣質(zhì)融入了他的山水畫中。張仃的焦墨山水畫在兩個(gè)方面有所創(chuàng)新，創(chuàng)造了獨(dú)具個(gè)人風(fēng)格的焦墨山水畫。首先是寫生，張仃的焦墨山水畫是以寫生作為橋梁的，張仃把寫生的東西與傳統(tǒng)的山水畫相結(jié)合。因?yàn)榈搅嗣髑逡院�，中國畫由于脫離了生活而變得更加抽象化、精神化。沒有與大自然的接觸，生活的氣息越來越淡，沒有生氣，沒有靈性。然而張仃一反常態(tài)，通過寫生來改造中國畫，并且在這方面做的得更加扎實(shí)和徹底。張仃寫生的足跡遍布祖國的大江南北，通過寫生把焦墨純化、發(fā)展到一個(gè)極致，這樣就給自己出了一個(gè)難題，這道題要下更大的功夫。北宋以前，線條是山水畫的主要表現(xiàn)形式，張仃又回到了這條道路上來。張仃焦墨山水畫的雄健和風(fēng)骨，是與他所運(yùn)用的焦墨和線條分不開的。其次是張仃對(duì)自然的態(tài)度不是傳統(tǒng)的，而是把傳統(tǒng)與西方的一些繪畫技法向結(jié)合，例如他的山水畫皴法不師某家某派，而是以自然物象為參考對(duì)象來施以皴擦。再例如他把西畫的透視方法運(yùn)用到寫生中，從而創(chuàng)造了屬于自己的焦墨山水畫。本文主要分四個(gè)章節(jié)來研究張仃的焦墨山水畫：第一、對(duì)張仃焦墨山水畫的形成因素進(jìn)行剖析，從而得出形成其焦墨山水畫的因素主要有社會(huì)政治原因、個(gè)人閱歷，更重要的是師造化。第二、對(duì)具體作品進(jìn)行分析，從而展開張仃焦墨山水畫的筆法特征演變歷程的研究，從勾勒皴擦幾方面對(duì)張仃各個(gè)時(shí)期的焦墨作品進(jìn)行分析研究。第三、對(duì)張仃焦墨山水畫所體現(xiàn)的意境進(jìn)行剖析，從具體作品分析得出：張仃的焦墨山水畫中蘊(yùn)涵深刻的人文意境以及玄素純凈的審美意境。第四、主要分析張仃焦墨山水畫給后人的啟示。通過以上幾部分的研究，對(duì)張仃的焦墨山水畫有了一個(gè)整體的理解。張仃對(duì)焦墨山水的探索與成就，是對(duì)中國山水畫的創(chuàng)新與貢獻(xiàn)，使山水畫的筆墨形式更加豐富。焦墨山水雖然不是始于張仃，但張仃對(duì)焦墨山水的探索力度之深卻是前無古人的，他的焦墨山水更是以大幅壁畫的形式展現(xiàn)給觀眾，張仃的焦墨山水是20世紀(jì)中國美術(shù)界的一大奇觀。是值得我們用心研究并學(xué)習(xí)的領(lǐng)域。
[Abstract]:As a new painting category, the coke and ink landscape can be traced back to the distance of the Qing Dynasty, but in a complete sense, Cheng is not a pure Chinese painter of the Chinese painting, because he used the pen and ink. The modern Huang Binhong painted a lot of the pages of the coke and ink landscape. To the peak is Zhang Ding. The coke ink is a traditional painting method. The ancient people used the coking ink to show the outline of the image, or use the coke to wake up, and Zhang Dingchun used the coking ink to make the landscape painting. It made it a unique form of landscape painting and made it shocking. Mr. Zhang Ding began to write the coke in 70s, after nearly 30 years of reality. Practice and exploration have become the outstanding representative of the painting of the painting of the coke and landscape painting. Zhang Ding has gone into Taihang Mountain innumerable times, his painting of the Chinese painting of coke, mainly depicting the Taihang Mountain in the north, has formed a vigorous style of painting. Mr. Zhang Ding's painting is solid, heavy and strong. Since the Ming and Qing Dynasties, Chinese painting has reduced the male landscape of the north school. Strong and hard, and becoming gentle and gentle. Mr. Zhang Ding came from the north, deeply loved the land of the north, and through a large number of field sketches to the North Dashan, he reemerged the strong and rigid northern landscape of the north school, aroused the return of the strong artistic tradition of the male, and was of great significance to the development of Chinese landscape painting. Consciousness, humanistic feelings, and the heroic temperament of individual into his landscape painting. Zhang Ding's coke and ink landscape painting has been innovated in two aspects, creating a unique personal style of the Chinese painting. First, the painting of Zhang Ding's painting is based on the bridge, and Zhang Ding combines the sketches with the traditional landscape painting. Since the beginning of the Ming and Qing Dynasties, Chinese paintings have become more abstract and spiritual because of their separation from life. Without contact with nature, the breath of life is becoming more and more weak, unanimate and spiritualism. However, Zhang Ding has been remolding Chinese painting by writing his life and making a more solid and thorough study of Zhang Ding's life. In the great rivers and south of the motherland, it has been developed to an extreme through the purification of the coking ink through the sketch. This gives himself a difficult problem, and this question must be more difficult. Before the Northern Song Dynasty, the lines were the main manifestation of the landscape painting, and Zhang Ding returned to the road. The other is that Zhang Ding's attitude to nature is not a traditional one, but a combination of traditional and Western painting techniques, such as his landscape painting without a certain school, but a natural object for reference. This paper belongs to his own painting of the coke and landscape painting. This article is mainly divided into four chapters to study the coke and ink landscape painting of Zhang Ding. First, the factors of the formation of Zhang Ding's landscape painting are analyzed, so that the factors of forming its coke and landscape paintings are mainly social and political reasons, personal experience, and more important is the division of the painting. Second, the specific works are divided into three parts. The study of the evolution of the writing characteristics of Zhang Ding Mo painting landscape painting, from the outline of a few sides of the chapped brush to face the analysis and study of the work of the coke in each period of Zhang Ding. Third, to analyze the artistic conception embodied in Zhang Ding's landscape painting, from the analysis of specific works: the profound humanistic artistic conception in Zhang Ding's painting of the painting of the coke and the landscape. As well as the aesthetic artistic conception of metaphysic purity. Fourth, it mainly analyzes the inspiration of Zhang Ding Mo painting to the future generations. Through the study of the above parts, it has a whole understanding of Zhang Ding's painting of the Chinese landscape painting. The exploration and achievement of Zhang Ding's landscape of the Chinese landscape painting is the innovation and contribution to the Chinese landscape painting, and the style of the landscape painting is more rich. Although the coke and ink landscape does not begin with Zhang Ding, the depth of Zhang Ding's exploration of the coke and ink landscape is unprecedented, and his coke and ink landscape is shown to the audience in the form of large mural painting. Zhang Ding's Chinese painting is a great spectacle of the Chinese Fine Arts in the twentieth Century. It is a field worth studying and studying in our heart.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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相關(guān)期刊論文 前4條

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本文編號(hào)：2068811