淺談龔賢獨(dú)特山水畫中的靜
發(fā)布時(shí)間：2018-07-26 07:13
【摘要】：龔賢是明代的一位遺民畫家，他在明清繪畫中占有著極為重要的地位，位居“金陵八家”之首。這位畫家極為擅長(zhǎng)于用墨，筆觸既穩(wěn)重又沉著，禿筆和尖筆交替使用，禿筆圓潤(rùn)蒼勁，勾勒房屋、刻畫畫樹干、皴擦點(diǎn)染，力道蒼勁，我們從他的畫面中就能非常清楚的看到，他筆下的樹干、房屋、等等在用筆上都非常有力度，，線條結(jié)實(shí)、穩(wěn)重，龔賢的畫雖不用潑墨但卻更有一番煙潤(rùn)淋漓的味道。畫中遠(yuǎn)處的山似乎和天際的煙云圍繞在一起，近處的景色厚重樸實(shí)，兩者結(jié)合在一起形成近實(shí)遠(yuǎn)虛的效果。總結(jié)他的山水畫是非常具有獨(dú)特藝術(shù)魅力的，其中的一個(gè)最為突出特點(diǎn)是——靜的意境。這種靜是畫家自身所帶的一種獨(dú)特的氣質(zhì)，是兼濟(jì)天下的胸懷，卻郁郁不得志，在當(dāng)時(shí)的社會(huì)政治背景下，只得對(duì)世俗不聞不問(wèn)，無(wú)奈將自己的所有情懷抒發(fā)在自己的畫中。龔賢的山水畫風(fēng)格特點(diǎn)大致分為三個(gè)時(shí)期，即洗練而寧?kù)o的“白龔”時(shí)期，蒼秀而虛靜的“灰龔”時(shí)期，渾淪而靜穆的“黑龔”時(shí)期。這三個(gè)時(shí)期都包涵了一個(gè)“靜”字，所不同的是各時(shí)期對(duì)靜闡釋有所側(cè)重。他的這一風(fēng)格特點(diǎn)是由多種因素形成的。一是他所處的江南獨(dú)特的地理環(huán)境；二是繼承師法古人的繪畫傳統(tǒng)；三是他有著獨(dú)特的身世，不平凡的經(jīng)歷，孤傲的性格塑造了其超凡的精神境界。在這些因素的影響下，他的山水畫形成了獨(dú)特的風(fēng)格特點(diǎn)，畫面上呈現(xiàn)了一種靜的意境美。龔賢將自己的畫法與一些心得總結(jié)起來(lái)編繪成課徒稿留給后世的人們，供與我們學(xué)習(xí)，劉剛紀(jì)曾經(jīng)在自己的書中《龔賢》一書中夸贊龔賢說(shuō)他是我們國(guó)家明清繪畫史上一位具有獨(dú)創(chuàng)精神的、并且有著執(zhí)著的現(xiàn)實(shí)的繪畫主義精神的畫家，龔賢的畫和他的《課徒稿》對(duì)我國(guó)近代畫家如、黃賓虹、李可染、以及現(xiàn)代的賈又福等都有著極為重要的影響。他的山水畫風(fēng)格及繪畫思想對(duì)當(dāng)代的畫壇都有著很大的啟示意義。本篇論文試圖通過(guò)探究分析他的山水畫的靜之意境，來(lái)揭示這一風(fēng)格形成的原因，希望能有一些新的發(fā)現(xiàn)。
[Abstract]:Gong Xian is a relic painter in Ming Dynasty. He occupies an extremely important position in Ming and Qing Dynasty painting, ranking first among the eight Jinling families. This painter is very good at using ink, the brush strokes are both steady and steady, the bald pen and the sharp pen are used alternately, the bald pen is smooth, the house is sketched, the trunk is painted, the chapped points are dyed, and the strength is very strong. We can see very clearly from his picture. The trunk, house, and so on in his writing are very strong, strong lines, steady, Gong Xian's painting, although not splashing ink, but more smoke dripping smell. The distant mountains in the painting seem to be surrounded by clouds of smoke in the sky. The near scenery is thick and plain, and the two combine to form the effect of near reality and far away. Summing up his landscape painting is very unique artistic charm, one of the most prominent feature is-static artistic conception. This kind of stillness is a unique temperament brought by the painter himself, and it is also the mind of helping the world, but it is gloomy and unfulfilled. Under the social and political background at that time, he had to ignore the worldly feelings and express all his feelings in his paintings. The characteristics of Gong Xian's landscape painting style are divided into three periods, namely, the "Bai Gong" period of washing and quiet, the "grey Gong" period of Cang Xiu and the "Grey Gong" period, and the "Black Gong" period of obscurity and tranquility. These three periods all contain a word "Jing", which is different from each period. His style is characterized by a variety of factors. One is his unique geographical environment in the south of the Yangtze River; the other is inheriting the painting tradition of the ancients; the third is that he has a unique experience, extraordinary experience, and his proud personality has shaped his extraordinary spiritual realm. Under the influence of these factors, his landscape painting formed a unique style characteristics, the picture presents a static artistic conception beauty. Gong Xian summed up his painting method and some of his ideas and made a draft of the lesson for future generations to learn from us. In his book Gong Xian, Liu Gangji once praised Gong Xian for being an original painter in the history of painting in our country, Ming and Qing dynasties, and a painter with a persistent and realistic spirit of painting doctrine. Gong Xian's paintings and his manuscripts have great influence on modern Chinese painters such as Huang Binhong, Li Keran, and modern Jia Youfu. His landscape painting style and painting thought have great enlightenment significance to the contemporary painting world. This paper attempts to explore and analyze the static artistic conception of his landscape painting, to reveal the reasons for the formation of this style, hoping to have some new discoveries.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
本文編號(hào)：2145253
[Abstract]:Gong Xian is a relic painter in Ming Dynasty. He occupies an extremely important position in Ming and Qing Dynasty painting, ranking first among the eight Jinling families. This painter is very good at using ink, the brush strokes are both steady and steady, the bald pen and the sharp pen are used alternately, the bald pen is smooth, the house is sketched, the trunk is painted, the chapped points are dyed, and the strength is very strong. We can see very clearly from his picture. The trunk, house, and so on in his writing are very strong, strong lines, steady, Gong Xian's painting, although not splashing ink, but more smoke dripping smell. The distant mountains in the painting seem to be surrounded by clouds of smoke in the sky. The near scenery is thick and plain, and the two combine to form the effect of near reality and far away. Summing up his landscape painting is very unique artistic charm, one of the most prominent feature is-static artistic conception. This kind of stillness is a unique temperament brought by the painter himself, and it is also the mind of helping the world, but it is gloomy and unfulfilled. Under the social and political background at that time, he had to ignore the worldly feelings and express all his feelings in his paintings. The characteristics of Gong Xian's landscape painting style are divided into three periods, namely, the "Bai Gong" period of washing and quiet, the "grey Gong" period of Cang Xiu and the "Grey Gong" period, and the "Black Gong" period of obscurity and tranquility. These three periods all contain a word "Jing", which is different from each period. His style is characterized by a variety of factors. One is his unique geographical environment in the south of the Yangtze River; the other is inheriting the painting tradition of the ancients; the third is that he has a unique experience, extraordinary experience, and his proud personality has shaped his extraordinary spiritual realm. Under the influence of these factors, his landscape painting formed a unique style characteristics, the picture presents a static artistic conception beauty. Gong Xian summed up his painting method and some of his ideas and made a draft of the lesson for future generations to learn from us. In his book Gong Xian, Liu Gangji once praised Gong Xian for being an original painter in the history of painting in our country, Ming and Qing dynasties, and a painter with a persistent and realistic spirit of painting doctrine. Gong Xian's paintings and his manuscripts have great influence on modern Chinese painters such as Huang Binhong, Li Keran, and modern Jia Youfu. His landscape painting style and painting thought have great enlightenment significance to the contemporary painting world. This paper attempts to explore and analyze the static artistic conception of his landscape painting, to reveal the reasons for the formation of this style, hoping to have some new discoveries.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前6條
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3 黃廷海;師造物——龔賢藝術(shù)思想的精髓[J];美術(shù)研究;1987年01期
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6 張連;董其昌畫學(xué)理論與龔賢山水畫[J];新美術(shù);1995年04期
本文編號(hào)：2145253
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