論南宋李迪及其《楓鷹雉雞圖》
發(fā)布時(shí)間：2018-07-13 11:25
【摘要】：宋明理學(xué),批判地吸收了佛學(xué)玄學(xué)的思維方式以及道家關(guān)于宇宙生成、萬(wàn)物化生的理論,思考人在宇宙間的位置和意義,探討人與人、人與自然、人與社會(huì)的關(guān)系,逐步形成中華民族文化心理。宋明理學(xué)也反映了宋時(shí)期的憂患意識(shí)、承擔(dān)精神、理性主義和求真務(wù)實(shí)的人文追求。 繼五代之后,北宋設(shè)立“翰林圖畫院”,北宋繼承了五代西蜀和南唐的舊制,建國(guó)之初,便在宮廷里設(shè)立翰林書畫院,對(duì)宋代繪畫的發(fā)展起到積極的推動(dòng)作用,也培養(yǎng)和教育了大批的繪畫人才。這個(gè)時(shí)期的花鳥畫,“黃荃富貴,徐熙野逸”逐漸成為此時(shí)期花鳥繪畫的兩大“主流”。花鳥畫發(fā)展至南宋,在宋理學(xué)的進(jìn)一步完善和形成完整體系的同時(shí),也逐漸由“黃荃富貴,徐熙野逸”兩大風(fēng)格,向更為豐富,更為精致的方向發(fā)展。這對(duì)后世的繪畫,尤其是花鳥畫的發(fā)展很大的推動(dòng)作用。 本論文意在追尋闡述宋代,尤其是南宋主流社會(huì)思想：“理”和“氣”的觀念在宋代花鳥花中的體現(xiàn)。著重以南宋花鳥畫家李迪及其代表作品《楓鷹雉雞圖》為主要研究對(duì)象、研究在宋代花鳥花中,從構(gòu)圖、設(shè)色等方面如何體現(xiàn)了“理”學(xué)的觀念,以及二者之間的關(guān)系。
[Abstract]:Song and Ming Neo Confucianism critically absorbed the thinking mode of metaphysics of Buddhism, the theory of the Daoism, the theory of the creation of the universe, the creation of all things, the position and significance of human beings in the universe, the relationship between man and man, man and nature, the relationship between man and society, and the gradual formation of the Chinese national culture psychology. Song and Ming Neo Confucianism also reflected the consciousness of suffering in the Song Dynasty and the essence of the Song Dynasty. God, rationalism and the pursuit of truth and pragmatism.
After the five generation, the Northern Song Dynasty set up "the Academy of calligraphy and painting" in the Northern Song Dynasty. The Northern Song Dynasty inherited the old system of the Five Dynasties of Western Shu and the Southern Tang Dynasty. At the beginning of the founding of the people's Republic, he set up a Calligraphy Academy in the palace, which played an active role in promoting the development of the painting of the Song Dynasty, and trained and educated a large number of painting talents. The flower and bird painting of this period, "Huang Quan rich and precious, Xu Xiye Yi" Gradually became the two main "mainstream" of the flower and bird painting in this period. The flower and bird painting developed to the Southern Song Dynasty. At the same time, in the further perfection and the formation of the complete system of the Song Dynasty, the flower and bird painting gradually developed from the two styles of "Huang Tsuen rich and Xu Xiye Yi" to a more rich and more delicate direction. This has developed a great deal of future generations of painting, especially the flower and bird painting. Push the effect.
This paper aims to find out the embodiment of the idea of "Li" and "Qi" in the Song Dynasty, especially the mainstream social thought of the Southern Song Dynasty in the Song Dynasty, focusing on the main research object of the Southern Song Dynasty flower and bird painter Li Di and his representative works "Maple hawk pheasant", and how to reflect the "reason" from the composition and color of the flowers and birds in the Song Dynasty. The concept of learning and the relationship between the two.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
本文編號(hào)：2119191
[Abstract]:Song and Ming Neo Confucianism critically absorbed the thinking mode of metaphysics of Buddhism, the theory of the Daoism, the theory of the creation of the universe, the creation of all things, the position and significance of human beings in the universe, the relationship between man and man, man and nature, the relationship between man and society, and the gradual formation of the Chinese national culture psychology. Song and Ming Neo Confucianism also reflected the consciousness of suffering in the Song Dynasty and the essence of the Song Dynasty. God, rationalism and the pursuit of truth and pragmatism.
After the five generation, the Northern Song Dynasty set up "the Academy of calligraphy and painting" in the Northern Song Dynasty. The Northern Song Dynasty inherited the old system of the Five Dynasties of Western Shu and the Southern Tang Dynasty. At the beginning of the founding of the people's Republic, he set up a Calligraphy Academy in the palace, which played an active role in promoting the development of the painting of the Song Dynasty, and trained and educated a large number of painting talents. The flower and bird painting of this period, "Huang Quan rich and precious, Xu Xiye Yi" Gradually became the two main "mainstream" of the flower and bird painting in this period. The flower and bird painting developed to the Southern Song Dynasty. At the same time, in the further perfection and the formation of the complete system of the Song Dynasty, the flower and bird painting gradually developed from the two styles of "Huang Tsuen rich and Xu Xiye Yi" to a more rich and more delicate direction. This has developed a great deal of future generations of painting, especially the flower and bird painting. Push the effect.
This paper aims to find out the embodiment of the idea of "Li" and "Qi" in the Song Dynasty, especially the mainstream social thought of the Southern Song Dynasty in the Song Dynasty, focusing on the main research object of the Southern Song Dynasty flower and bird painter Li Di and his representative works "Maple hawk pheasant", and how to reflect the "reason" from the composition and color of the flowers and birds in the Song Dynasty. The concept of learning and the relationship between the two.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【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2條
1 余輝;南宋畫院佚史雜考二題[J];美術(shù)觀察;1996年09期
2 姚青華;靳曦;;南宋院體山水畫中的文人意趣[J];美與時(shí)代(下半月);2009年09期
，本文編號(hào)：2119191
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