本文選題：蘇軾 + 書畫理論�。� 參考：《內(nèi)蒙古師范大學(xué)》2013年碩士論文

【摘要】：蘇軾是中國古代少有的詩詞文書畫樣樣精通的文藝全才，他以各種藝術(shù)形式隨性適意地宣泄抒寫人生，也用自己蕭散隨意的人生開創(chuàng)藝術(shù)的新境界。蘇軾的美學(xué)思想集中展現(xiàn)在他對(duì)于各種藝術(shù)形式的理論闡釋中，其中詩論、詞論、文論中的美學(xué)思想已多為人關(guān)注，而其書法與繪畫藝術(shù)理論中包涵的美學(xué)思想也彌足珍貴。本文以中國傳統(tǒng)的文學(xué)研究方法為主，結(jié)合蘇軾的人生經(jīng)歷與精神思想，對(duì)蘇軾的書論和畫論作深入細(xì)微的理論分析，力圖在較為寬廣的文化背景下總結(jié)歸納蘇軾書畫藝術(shù)論中蘊(yùn)涵的美學(xué)思想。 文章選取了蘇軾書畫藝術(shù)論中比較突出的美學(xué)思想進(jìn)行論析：其一，師法自然，從物我兩忘以達(dá)到審美的自然、展現(xiàn)審美客體的自然之態(tài)、實(shí)現(xiàn)淡泊簡遠(yuǎn)的審美理想等三個(gè)方面，詳盡系統(tǒng)地論述了蘇軾對(duì)文藝創(chuàng)作中創(chuàng)作前的準(zhǔn)備、創(chuàng)作過程本身、創(chuàng)作結(jié)果顯現(xiàn)等各個(gè)階段提出的“自然”要求；其二，論道與藝，從有道有藝、以道統(tǒng)藝與技道兩進(jìn)等方面論述蘇軾對(duì)道與藝及二者關(guān)系的認(rèn)知；其三，，論物與意，重點(diǎn)分析了蘇軾寓意于物、不為物限的美學(xué)主張；其四，論形與神，從以形傳神、形神兼?zhèn)渑c得物之神、傳神寫意兩個(gè)層面闡釋了蘇軾對(duì)于形神關(guān)系的理解。 通過對(duì)蘇軾書畫理論中美學(xué)思想的分析可知，蘇軾的藝術(shù)創(chuàng)作是對(duì)生命精神的藝術(shù)追求，是對(duì)心靈世界進(jìn)行的藝術(shù)渲染，只有從精神實(shí)質(zhì)上把握蘇軾的美學(xué)思想的內(nèi)涵，才能真正理解生活在北宋時(shí)代的蘇軾；本論文對(duì)蘇軾書畫理論進(jìn)行相對(duì)綜合的研究，也意在使當(dāng)代的藝術(shù)創(chuàng)作者知曉各種藝術(shù)文化要素綜合產(chǎn)生的意義。
[Abstract]:Su Shi is a rare literary and artistic generalist in ancient China. He expresses his life with various artistic forms and creates a new realm of art with his casual life. Su Shi's aesthetic thoughts are concentrated in his theoretical interpretation of various artistic forms, in which the aesthetic thoughts in poetry theory, ci theory and literary theory have been paid more attention to, and the aesthetic thoughts contained in his calligraphy and painting art theories are also precious. Based on the traditional Chinese literature research method, combined with Su Shi's life experience and spiritual thought, this paper makes a deep and subtle theoretical analysis of Su Shi's book theory and painting theory. Try to sum up and sum up Su Shi's aesthetic thoughts in calligraphy and painting art theory under the broad cultural background. The article selects Su Shi's outstanding aesthetic thought in calligraphy and painting art theory to analyze: first, to learn from nature, to achieve aesthetic nature and to show the natural state of aesthetic object. In order to realize the aesthetic ideal of simple and distant, the author discusses in detail the "natural" requirements put forward by Su Shi in various stages of literary creation, such as the preparation before creation, the creation process itself, the manifestation of the creation result, and so on; secondly, on Tao and art, This paper discusses Su Shi's cognition of Tao and art and their relationship from the aspects of youdao art and technology. Thirdly, on matter and meaning, Su Shi focuses on his aesthetic proposition of meaning in matter, not in material limit. Fourth, he discusses form and spirit. This paper explains Su Shi's understanding of the relationship between form and spirit from two aspects: form and spirit, both form and spirit, and spirit and freehand brushwork. Through the analysis of the aesthetic thought in Su Shi's calligraphy and painting theory, it can be seen that Su Shi's artistic creation is the artistic pursuit of the life spirit and the artistic rendering of the spiritual world, and only the connotation of Su Shi's aesthetic thought can be grasped from the spiritual essence. In order to truly understand Su Shi, who lived in the Northern Song Dynasty, this paper makes a relatively comprehensive study of Su Shi's calligraphy and painting theory, which is also intended to make contemporary art creators know the significance of synthesizing various artistic and cultural elements.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J201

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本文編號(hào)：2079407