本文選題：文人畫 + 形式傳統(tǒng)　； 參考：《中南民族大學(xué)》2013年碩士論文

【摘要】：說到中國畫，文人畫似乎是一個繞不開的話題，中國的繪畫史幾乎可以概括為一部文人畫史，歷代的畫史畫論都無不與文人畫有著不同程度的聯(lián)系。而中國繪畫可以說是中國文化的一個縮影，包涵了中國人豐富的哲學(xué)精神內(nèi)涵。因此，文人畫既是一門藝術(shù)，又是人格化的體現(xiàn)和綜合資質(zhì)的展示，解讀文人水墨畫形式的精髓要點，破解其中的構(gòu)成要素，，充分利用好前人為我們留下的這筆彌足珍貴的文化遺產(chǎn)，并從中尋找出對當(dāng)今中國水墨畫創(chuàng)作的參考價值無疑是一件艱巨、繁重且責(zé)任重大的任務(wù)，但這卻是非常有必要的，而且正是當(dāng)今學(xué)院教育所缺少的。因此，重審文人畫的形式傳統(tǒng)，無疑對當(dāng)今的中國畫教學(xué)和創(chuàng)作有著深刻意義。 本文第一章對文人畫做了一個簡單的介紹：要對文人畫做一個準(zhǔn)確的定義是有難度的。首先，文人畫自身具有一定的綜合性、復(fù)雜性。其次，因為時代背景的不同，經(jīng)過歷朝歷代的發(fā)展，文人畫在每個時代的特征是不同的，它是一個動態(tài)的體系，因此不能簡單的給文人畫下一個定義。最后，理出了文人畫的發(fā)展脈絡(luò)以及最具有典型性的特征，從“托物言志”、“立象盡意”等方面說明了文人畫深刻的文化性與內(nèi)涵，并介紹了文人畫的畫面形式特征。文章第二章分析了“新文人畫”的時代背景及其對傳統(tǒng)文人畫的傳承與逆反。新文人畫由于其自身團(tuán)體的復(fù)雜性及其創(chuàng)作題材與審美取向的多樣性，造成了人們對其認(rèn)識的模糊性。第三章對傳統(tǒng)師徒式教習(xí)方式進(jìn)行了一次再認(rèn)識，分析了學(xué)院藝術(shù)教育的時代特征和文化缺失，同時說明了水墨畫的基礎(chǔ)教學(xué)應(yīng)該是“傳移模寫”以及文人畫傳統(tǒng)對學(xué)院教育的啟示性價值。然后站在當(dāng)今學(xué)院教育的角度，去探究文人畫在當(dāng)今以西式學(xué)院教育為主的體系中應(yīng)該起一個什么樣的作用。第四章介紹了要打好水墨畫的基礎(chǔ)至少需要做到三點：1、以《芥子園畫傳》為例如何理解和掌握水墨畫的表現(xiàn)程式2、由于書畫的相關(guān)性，所以有必要加強(qiáng)書法練習(xí)3、文化性是中國畫的靈魂所在，所以必須提高文化修養(yǎng)。并結(jié)合自己的創(chuàng)作實踐，吸取文人畫傳統(tǒng)的精髓并化為自己創(chuàng)作的營養(yǎng)。
[Abstract]:When it comes to Chinese painting, literati painting seems to be an inextricable topic. Chinese painting history can almost be summarized as a literati painting history. Chinese painting can be said to be a microcosm of Chinese culture, including the rich Chinese philosophical spirit connotation. Therefore, literati painting is not only an art, but also the embodiment of personification and the display of comprehensive qualification. To make full use of this precious cultural heritage left by our predecessors and to find out the reference value for the creation of Chinese ink painting today is undoubtedly a arduous, arduous and responsible task, but it is very necessary. And what is lacking in college education today. Therefore, reviewing the formal tradition of literati painting is undoubtedly of great significance to the teaching and creation of Chinese painting. The first chapter gives a brief introduction to literati painting: it is difficult to define literati painting accurately. First of all, literati painting itself has a certain degree of comprehensiveness and complexity. Secondly, because of the different background of the times, through the development of successive dynasties, literati painting in each era is different characteristics, it is a dynamic system, so can not simply draw a definition of literati. Finally, the author analyzes the development of literati paintings and their most typical features, explains the profound cultural nature and connotation of literati paintings from the aspects of "expressing his wishes" and "setting up images to the best of his mind", and introduces the features of the literary paintings' picture form. The second chapter analyzes the background of the New Literati painting and its inheritance and opposition to the traditional Literati painting. Because of the complexity of its own group and the diversity of its creation subject matter and aesthetic orientation, the new literati painting has resulted in the ambiguity of people's understanding of it. In the third chapter, the author makes a new understanding of the traditional teacher-apprentice-style teaching methods, and analyzes the characteristics of the times and the cultural deficiency of the art education in the college. At the same time, it explains that the basic teaching of ink and wash painting should be "passing on and moving model writing" and the enlightening value of literati painting tradition to college education. Then from the point of view of college education, this paper explores what role literati painting should play in the present system of western college education. The fourth chapter introduces how to understand and master the expression program of ink painting in order to lay a good foundation of ink painting at least 3: 1, taking the biography of Mustard Garden painting as an example, because of the correlation between calligraphy and painting. Therefore, it is necessary to strengthen calligraphy practice 3, culture is the soul of Chinese painting, so we must improve cultural accomplishment. Combined with their own creative practice, absorb the essence of literati painting tradition and become their own nutrition.
【學(xué)位授予單位】：中南民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212-4

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