【摘要】：在中國(guó)繪畫(huà)史上有浙江、八大山人、石溪、石濤四位皆為僧人的畫(huà)壇具匠，并且在中國(guó)美術(shù)史上獲得了應(yīng)有的榮譽(yù)和地位。然而，邢文先生力主的清初畫(huà)壇“五僧”之說(shuō)也頗有道理。因?yàn)樵谇宄鯐r(shí)期還有一個(gè)僧人給我們留下了藝術(shù)珍寶，他就是高遠(yuǎn)淡泊、超然灑脫的擔(dān)當(dāng)和尚。邢文先生評(píng)論擔(dān)當(dāng)與石溪、石濤的繪畫(huà)風(fēng)格指出：他們?nèi)簧说纳剿俭w現(xiàn)著縱放筆致。擔(dān)當(dāng)，禪心冰骨；石溪，亂頭粗服；石濤，惡墨柔痕。擔(dān)當(dāng)?shù)纳剿�、逸，則是無(wú)可比擬的。在評(píng)論擔(dān)當(dāng)與他們的不同之處時(shí)指出：漸江冷而靜，擔(dān)當(dāng)冷而動(dòng)；八大冷而恨，擔(dān)當(dāng)冷而逸；石溪亂而重，擔(dān)當(dāng)亂而輕；石濤亂而繁，擔(dān)當(dāng)亂而簡(jiǎn)。從邢文先生的評(píng)論中可以看出擔(dān)當(dāng)大師留給我們的絕不是他個(gè)人的遺產(chǎn)，而是整個(gè)人類(lèi)社會(huì)的文化遺產(chǎn)，這是需要我們深入研究的。而本文則是從擔(dān)當(dāng)?shù)摹昂?jiǎn)”筆山水畫(huà)方面進(jìn)行研究和拓展，進(jìn)而將擔(dān)當(dāng)?shù)囊饩场?huà)境融為一體的藝術(shù)特點(diǎn)和空靈清簡(jiǎn)的藝術(shù)風(fēng)格進(jìn)行深入研究。 文章主要以擔(dān)當(dāng)“簡(jiǎn)”筆山水畫(huà)形成的原因、演變，以及對(duì)中國(guó)繪畫(huà)的影響這一脈絡(luò)為主線索。講述擔(dān)當(dāng)生平及其“簡(jiǎn)”筆山水畫(huà)形成的原因，分析他山水畫(huà)中“簡(jiǎn)”的運(yùn)用和體現(xiàn)，對(duì)擔(dān)當(dāng)?shù)摹昂?jiǎn)”筆山水畫(huà)這一畫(huà)種進(jìn)行了深入剖析。以及其山水繪畫(huà)中的“簡(jiǎn)”的藝術(shù)特點(diǎn)及其影響的描述和對(duì)我們當(dāng)代山水畫(huà)的意義和啟示等方面進(jìn)行深入闡述，并揭示了它對(duì)當(dāng)代中國(guó)繪畫(huà)創(chuàng)作的現(xiàn)實(shí)意義。
[Abstract]:In the history of Chinese painting, Zhejiang, eight mountain people, Shixi, Shi Tao are all monks in the world of painting craftsmen, and in the history of Chinese art has gained its due honor and status. However, Xingwen's theory of "five monks" in the early Qing Dynasty is quite reasonable. Because in the early Qing Dynasty there was a monk who left us a treasure of art. He was a aloft, aloft monk. Xingwen comments on Shixi, Shi Tao's painting style: their three monks landscape reflects the vertical pen. Bear, Zen heart ice bone; Shixi, rough head; Shi Tao, evil ink soft marks. The cold of the mountains and rivers, ease, is unparalleled. In commenting on their differences, he points out that the river is cold and quiet, cold and moving; the eight great cold and hate bear cold and easy; the stone stream is messy and heavy, and it is messy and light; the stone waves are chaotic and complex, and bear chaos and simplicity. From the comments of Mr. Xing Wen, we can see that the master of responsibility is not his personal heritage, but the cultural heritage of the whole human society, which needs our in-depth study. And this article is from the "simple" pen landscape painting research and development, and then will play the artistic conception, the artistic features of the integration of the painting and the artistic style of the Qing Dynasty to carry out in-depth research. The main clue of this article is the origin, evolution and influence on Chinese painting. This paper narrates his life and the reasons for the formation of his pen and landscape painting, analyzes on the application and embodiment of "Jane" in his landscape painting, and makes an in-depth analysis of the painting type of "simple" pen and landscape painting. The artistic characteristics and influence of "Jane" in its landscape painting are described, and the significance and enlightenment of our contemporary landscape painting are expounded, and its practical significance to contemporary Chinese painting is revealed.
【學(xué)位授予單位】：聊城大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J212

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