發(fā)布時間：2018-06-27 13:42

  本文選題：筆法 + 墨法��； 參考：《廣州大學》2013年碩士論文

【摘要】：黃賓虹、李可染皆推崇龔賢，特別是對黑龔畫風的繼承和發(fā)展，在厚與黑中又有獨到領悟，在近、現(xiàn)代山水畫史上，樹立了新的里程碑。 本文從學習龔賢山水畫的實踐出發(fā)，深入地對龔賢山水畫筆墨的研究，旨在厘清中國山水畫中筆墨的發(fā)展，感悟其獨特的美學價值。龔賢論筆墨別有高處：墨氣中見筆法，則墨氣始靈；筆法中有墨氣，則筆法始活。筆墨非二事也。這是筆墨運用到高級階段的深刻體會。若古代論者，或曰某家有筆無墨或曰某家有墨無筆的筆墨分治的說法，龔賢予以不取的態(tài)度。特別是他開創(chuàng)了渾淪之說，惟筆墨俱妙，而無筆法墨氣之分，乃真渾淪矣。道破了中國山水畫以特有筆墨表現(xiàn)大自然規(guī)律，，由無到有，再由有到無的恍兮惚兮的境界。
[Abstract]:Huang Binhong and Li Keran all admire Gong Xian, especially inheriting and developing the painting style of Heigong, which has a unique understanding in thick and black, and has set a new milestone in the history of modern landscape painting. Starting from the practice of studying Gong Xian's landscape painting, this paper makes a deep study of Gong Xian's landscape painting brush and ink in order to clarify the development of Chinese landscape painting and to understand its unique aesthetic value. Gong Xian said that there are different height of ink and ink: ink gas in the ink, ink Qi, ink, the method began to live. Pen and ink are not two things. This is the use of pen and ink to the advanced stage of the profound experience. If the ancient theorists, or a family has no ink or a pen no pen to divide the argument, Gong Xian will not take the attitude. In particular, he pioneered the theory of muddy, but fine ink and ink, and no ink, is really muddy. Tao broke the Chinese landscape painting to express the laws of nature with unique strokes and ink, from nothing to have, and then from having to nothing, the state of trance.
【學位授予單位】：廣州大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212

【參考文獻】

相關期刊論文 前3條

1 舒士俊;龔賢與宋、元人筆墨之異同(提要)[J];東南文化;1990年05期

2 賈又福;;筆墨從心[J];中國商人;2010年06期

3 孟繁瑋;;龔賢的積墨法[J];美術觀察;2006年08期

本文編號：2074101