【摘要】：中國畫的發(fā)展是中國文化進(jìn)化史的一種演變,一種藝術(shù)形式或風(fēng)格的確立,需要的是幾十年、數(shù)百年甚至上千年的藝術(shù)理論和文化思想作為積淀。中國山水畫發(fā)展到北宋時期已經(jīng)到達(dá)頂峰,在這一階段,李成是其中出色山水畫家之 本文從李成山水畫創(chuàng)作題材寒林入手,并從李成的生平經(jīng)歷、繪畫審美取向和繪畫風(fēng)格深入探析他繪畫中的寒林題材、構(gòu)圖、筆墨語言和意境。 首先,李成的寒林題材主要包括枯木寒林,雪景寒林；李成的寒林枯枝在追求逼真的樹木形態(tài)的同時局部刻畫上也常帶有寫意的手法。 其次,在構(gòu)圖上,把傳統(tǒng)的縱向構(gòu)圖變?yōu)闄M向構(gòu)圖,把險峻的崇山峻嶺變?yōu)槠竭h(yuǎn)的寒林枯木。李成創(chuàng)造出了“煙林平遠(yuǎn)”之妙,他的繪畫舍棄了雄偉壯觀的山巒,這種慣用的山水題材,而把視線放在近處平緩?fù)疗碌臉淠�、石頭上 然后,李成在筆墨的運(yùn)用上,用筆肯定,直抒性情,清淡而委婉,絕無猶疑、含混之筆墨。他的筆墨用的精微巧妙,這主要源于他很高的文學(xué)素養(yǎng)、思想境界和長期的筆墨鍛煉。 最后,李成山水作品追求意境的蕭疏,煙林清曠,山水秀潤偉岸。李成善畫寒林枯木,最主要的原因是他偏愛這種獨(dú)特題材所傳達(dá)出淡泊,冷寒,蕭條和蒼古之趣的意境。他畫面中那種古雅,清勁的畫風(fēng)更是無人能及,他把寒林的清寂之美表現(xiàn)的淋漓盡致。李成將中國山水畫,尤其是北宋山水畫領(lǐng)向了一個新的高度,自此,中國山水畫的發(fā)展日漸成熟。他所創(chuàng)立的藝術(shù)表現(xiàn)技法和繪畫思想,在今后的山水畫世界中發(fā)揮著深遠(yuǎn)的影響。
[Abstract]:The development of Chinese painting is an evolution of Chinese cultural evolution and the establishment of an artistic form or style, which requires the accumulation of artistic theories and cultural thoughts for decades, centuries or even thousands of years. Chinese landscape painting has reached its peak in the Northern Song Dynasty. In this stage, Li Cheng is one of the outstanding landscape painters. This paper begins with the theme of Li Cheng landscape painting, and starts with the life experience of Li Cheng. The aesthetic orientation and style of painting in his paintings deeply explore the theme, composition, language and artistic conception of Han Lin. First of all, Li Cheng's cold forest theme mainly includes dead wood cold forest, snowscape cold forest; Li Cheng cold forest withered branch in pursuit of lifelike tree shape at the same time local depiction is often with freehand brushwork. Secondly, in the composition, the traditional vertical composition into the horizontal composition, the steep mountains into the cold forest dead wood. Li Cheng created the beauty of the "smoke forest," in which his paintings abandoned the majestic mountains, the usual landscape themes, and focused their attention on trees, stones, and then, Li Cheng, on the use of ink and pen, near the gentle slope of the earth. Pen affirmation, straight express temperament, light and euphemism, never hesitant, vague ink. The subtle and ingenious use of his pen and ink is mainly due to his high literary quality, ideological state and long-term exercise. Finally, Li Cheng landscape works pursue the artistic conception of Xiao Shu, smoke forest clear, landscape Xirun Wei an. The main reason for Li Chengshan's painting of dead wood in cold forest is his preference for the indifferent, cold, depressed and ancient interest of this unique subject matter. In his picture that kind of quaint, clear-spirited painting style is no one can compare, he expresses the cold forest's pure silence the beauty incisively and vividly. Li Cheng led the Chinese landscape painting, especially the Northern Song Dynasty landscape painting, to a new height. Since then, the development of Chinese landscape painting has become more and more mature. His artistic expression techniques and painting ideas play a profound role in the future landscape painting world.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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本文編號：2130253