【摘要】：弘仁是明末清初著名的畫(huà)僧，山水畫(huà)風(fēng)格以冷峻、峭拔見(jiàn)長(zhǎng)。擅長(zhǎng)用堅(jiān)挺的墨線描繪山水景物，其簡(jiǎn)約、清奇的繪畫(huà)風(fēng)格傳達(dá)出一種冷逸、超脫的繪畫(huà)意境，在同時(shí)期遺民群體中，弘仁的遺民思想也顯現(xiàn)出了不同于其他遺民的特殊性在里面。 弘仁特殊繪畫(huà)面貌的形成有著諸多復(fù)雜而深刻的原因。他生活的時(shí)代，是明末清初的社會(huì)大動(dòng)蕩時(shí)代，是國(guó)家民族命運(yùn)遭遇轉(zhuǎn)折的天崩地裂的時(shí)代。在滿清入主中原之后，漢族知識(shí)分子面臨著是忠于舊朝還是與新朝合作的選擇，選擇忠于舊朝則成為遺民。弘仁即選擇忠于漢族舊朝、忠于正統(tǒng)，遂成為遺民群體的一員。遺民群體的成員大多是文人知識(shí)分子，遺民群體通過(guò)詩(shī)文、繪畫(huà)、文集等方式，來(lái)表達(dá)自己的觀點(diǎn)和抒發(fā)自己內(nèi)心情感，這些遺民詩(shī)、遺民繪畫(huà)透露著深沉、龐雜的遺民思想，或表現(xiàn)掙扎抗?fàn)帯⒒虬踩浑[退、或激烈孤憤。弘仁在遭遇家國(guó)不幸之后，思想深處由“儒”轉(zhuǎn)向“道”，最后轉(zhuǎn)向佛家，并出家為僧。在之后的人生經(jīng)歷中，一直受儒、道、佛的影響，心態(tài)由抗?fàn)広呄蚱胶�，遺民思想也因心態(tài)的變化而趨向?qū)庫(kù)o、平和，繪畫(huà)風(fēng)格面貌相應(yīng)的表現(xiàn)出超脫、雅逸的意境。 弘仁的遺民思想主要體現(xiàn)在他的繪畫(huà)面貌所傳達(dá)的冷逸、清奇的意境當(dāng)中。本文試圖從弘仁的繪畫(huà)風(fēng)格上，深入分析研究弘仁特有的繪畫(huà)意境，，并透過(guò)他的繪畫(huà)意境分析他對(duì)于“逸”的審美追求，最終分析研究他遺民思想的特殊性與代表性。
[Abstract]:Hongren is a famous painting monk in late Ming and early Qing Dynasty. Good at using strong ink lines to describe landscape, its simplicity, Qingqi painting style conveys a cool, detached artistic conception of painting, in the same period of the group of survivors, Hongren's thought of the bereaved people also shows the particularity which is different from the others. There are many complicated and profound reasons for the formation of Hongren's special painting appearance. He lived in a period of great social turbulence in the late Ming Dynasty and early Qing Dynasty, and a time when the nation's destiny was turned. After the Manchu Dynasty took over the Central Plains, the intellectuals of Han nationality were faced with the choice of whether to be loyal to the old dynasty or to cooperate with the new one, and to choose to be loyal to the old dynasty became a relic. Hongren chose to be loyal to the Han Dynasty and orthodoxy and became a member of the bereaved community. Most of the members of the group are literati intellectuals. The group of survivors expresses their views and expresses their inner feelings by means of poems, paintings, collections, and so on. These poems and paintings of the survivors reveal deep, complex thoughts of the people. Or show struggle and struggle, or retreat safely, or fierce solitary indignation. After suffering the misfortune of his family, Hongren turned from Confucianism to Taoism, finally to Buddhism, and became a monk. In the later life experience, has been influenced by Confucianism, Taoism, Buddhism, the mentality from the resistance to peace, the mentality of the people because of the change of mentality and tend to quiet, peaceful, painting style of the face of the corresponding performance of the detached, elegant artistic conception. Hongren's relic thought is mainly reflected in his painting features conveyed in the cold, Qingqi artistic conception. This paper attempts to analyze and study Hongren's unique artistic conception from his painting style, and through his artistic conception to analyze his aesthetic pursuit of "ease", and finally to analyze the particularity and representativeness of his people's thoughts.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前4條

1 楊蕾;;市場(chǎng)需求與漸江繪畫(huà)圖式成因關(guān)系分析[J];國(guó)畫(huà)家;2007年06期

2 余治平;;夷夏之變與文明超越——春秋公羊?qū)W視野下的中國(guó)道路選擇[J];江海學(xué)刊;2012年01期

3 邱才楨;;山水形象與家國(guó)記憶:弘仁《始信峰圖》解讀[J];美術(shù)研究;2008年03期

4 呂少卿;;漸江入閩時(shí)間、目的考[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2006年03期

相關(guān)博士學(xué)位論文 前1條

1 李克建;儒家民族觀的形成與發(fā)展[D];西南民族大學(xué);2008年

本文編號(hào)：2128375