【摘要】：石濤是一個孤獨的社會邊緣人，他以筆墨抒發(fā)自我的情緒。石濤的繪畫意境是禪宗美學(xué)的產(chǎn)物，他和禪宗之間的有著很深的淵源，禪宗精神在他的繪畫上表現(xiàn)出的是一種超脫自我的虛靜空靈的意境美。石濤在繪畫的藝術(shù)創(chuàng)作中彰顯出禪宗的意境美魅力。禪宗的意境追求是“虛靜空靈”，石濤的繪畫追求是山川草木之間的一切宇宙的生命的相互交融。兩種意境追求具有一致性。石濤的繪畫理論圍繞無法-有法-至法的虛實相生，相互的轉(zhuǎn)化的變化統(tǒng)一。 本文從三個章節(jié)來詮釋石濤繪畫意境和禪宗的意境之間的關(guān)系。第一章的第一小節(jié)簡單介紹了石濤的藝術(shù)理論和繪畫的大致背景，從石濤的生平和他與禪宗的淵源，以及他出世入世的心理變化入手。第二小節(jié)從石濤的繪畫理論入手，剖析石濤的繪畫思想根源，，另外對石濤“一畫”思想和藝術(shù)本體論的進(jìn)行研究；本文的第二個大章節(jié)講了石濤的繪畫理論中禪宗韻味。石濤的繪畫以“一畫”為主線�！耙划嫛标U釋的是自然萬物的統(tǒng)一，石濤繪畫主張“我用我法”以自然的“尊受”“蒙養(yǎng)”為繪畫創(chuàng)作的思想主張。第二小節(jié)圍繞石濤對山水、詩詞、主體三個方面的塑造特點展開。石濤的繪畫元素遵循著自任其任、無法有法、天人合一的特點。這些創(chuàng)作元素特點和禪宗之間存在著微妙的關(guān)系。第三大章寫了石濤繪畫形式的禪宗意蘊。第一節(jié)禪畫形式的生命意味，主要講石濤的點苔張揚著生命力，線條賦予畫面的動感，造型表現(xiàn)的抽象性。最后一節(jié)主要寫禪宗的境界“虛”“空”“悟”“靈”“逸”與繪畫意境之間虛實相生，共融統(tǒng)一的關(guān)系。
[Abstract]:Shi Tao is a lonely social fringe, he expresses his own feelings with pen and ink. Shi Tao's artistic conception of painting is the product of Zen aesthetics, and there is a deep origin between him and Zen. Shi Tao shows the charm of Zen artistic conception in the artistic creation of painting. The pursuit of Zen's artistic conception is "empty and empty", and Shi Tao's pursuit of painting is the intermingling of all universe life between mountains, rivers and trees. Two kinds of artistic conception pursue have the consistency. Shi Tao's painting theory revolves around the change and unity of the virtual reality and the transformation between the law and the law. This paper interprets the relationship between the artistic conception of Shi Tao's painting and the artistic conception of Zen Buddhism from three chapters. The first section of the first chapter briefly introduces Shi Tao's art theory and the general background of painting, starting with Shi Tao's life, his origin with Zen and his psychological changes. The second section begins with Shi Tao's painting theory, analyzes the origin of Shi Tao's painting thought, and studies Shi Tao's thought of "one painting" and artistic ontology; the second chapter of this paper talks about the Zen charm in Shi Tao's painting theory. Shi Tao's painting takes "one painting" as the main line. "one painting" interprets the unity of nature and everything, and Shi Tao advocates that "I use my method" and regard natural "respect for receiving" Meng Yang "as the idea of painting creation. The second section focuses on the characteristics of Shi Tao's creation of landscape, poetry and subject. Shi Tao's painting elements follow its own responsibility, can not have the law, the unity of nature and man. There is a subtle relationship between the characteristics of these creative elements and Zen Buddhism. The third chapter writes the Zen meaning of Shi Tao's painting form. The first section Zen painting form of life, mainly talking about Shi Tao's point moss spread vitality, lines to give the picture of the dynamic, the shape of the abstract performance. The last section mainly writes the realm of Zen Buddhism "empty", "realize", "spirit", "Yi" and painting artistic conception.
【學(xué)位授予單位】：南昌大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 陳敬友;;靈的空間——中國畫的虛實之美[J];美術(shù)觀察;2010年11期

2 黃文;;試議現(xiàn)代工筆畫技法中的非傳統(tǒng)因素[J];美術(shù)界;2011年04期

本文編號：2143355