【摘要】：本文以林紓晚年畫論著作《春覺齋論畫》為研究對象,通過對林紓系列言論的解讀與詮釋,以及對林紓改良主義與“理學(xué)至上”的政治文化思想的追溯與探討,將林紓在《春覺齋論畫》中的主要繪畫思想總結(jié)為“出宋入元”這一繪畫旨?xì)w。并以林紓根深蒂固的程朱理學(xué)作為論文的思想基點(diǎn),以理學(xué)思維方式對繪畫觀念和繪畫形態(tài)的影響為紐帶,將“自然之理”、“寫意藝術(shù)觀”、“社會化自然”做為切入點(diǎn),剖析林紓“出宋入元”的藝術(shù)主張。林紓以此藝術(shù)主張為論畫契機(jī),在西風(fēng)烈烈、唯新是從的美術(shù)革命浪潮中,為傳統(tǒng)繪畫在中國文化體系內(nèi)部的“溫故知新”提供了理論基礎(chǔ)。
[Abstract]:This paper takes Lin Shu's painting theory in his later years as the object of study, through the interpretation and interpretation of Lin Shu's series of comments, as well as the tracing and discussion of Lin Shu's reformism and the political and cultural thought of "the supremacy of Neo-Confucianism". The main painting thought of Lin Shu in Chun Jue Zhai is summarized as the aim of "out of Song Dynasty and Yuan Dynasty". Taking Lin Shu's deep-rooted Neo-Confucianism of Cheng and Zhu as the ideological basis of the thesis, taking the influence of the mode of Neo-Confucianism on painting concept and painting form as the link, taking "natural principle", "freehand brushwork art view" and "socialized nature" as the breakthrough point. Analysis of Lin Shu's artistic proposition of "out of Song Dynasty and Yuan Dynasty". Lin Shu took this artistic proposition as an opportunity to discuss painting. In the wave of art revolution in which the west wind is strong and the only new is following, it provides a theoretical basis for the traditional painting in the internal system of Chinese culture.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205

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本文編號：2134610