【摘要】：在古代畫史畫論中,關(guān)于設(shè)色畫或和設(shè)色畫相關(guān)的稱呼有許多。比如“重設(shè)色”、“重著色”、“石色”、“淡設(shè)色”、“淺著色”、“淺絳色”等,但對(duì)他們并沒有做過明確的區(qū)分與界定。因此在繪畫使用時(shí)是模糊的,憑感覺的,就連我們經(jīng)常使用的“青綠”與“淺絳”也是如此。絢爛之極,歸于平淡。在古代山水畫設(shè)色實(shí)踐中,也是如此。晉唐以前,山水畫主要是以青綠重彩的形式出現(xiàn)。隨著宋代以蘇軾為首的文人畫運(yùn)動(dòng)的發(fā)展與推進(jìn),文人墨客們的審美情趣發(fā)生了巨大的轉(zhuǎn)變,以水墨為主的淺敷色或淺絳色山水畫逐漸登上了畫史舞臺(tái),成為了中國(guó)山水畫創(chuàng)作的主要表現(xiàn)形式。淺絳設(shè)色最早脫胎于青綠、敷色而在水墨的基礎(chǔ)上逐漸完成向小青綠設(shè)色、淡設(shè)色的一個(gè)轉(zhuǎn)變,并在文人水墨山水的基礎(chǔ)上形成了標(biāo)新立異的具有時(shí)代標(biāo)簽的淺絳山水。文章通體從設(shè)色的角度,以黃公望的淺絳山水為核心,來(lái)談淺絳色彩。顯然,說淺絳就不能不提青綠,二者在使用時(shí)往往就沒有明確的界定,總是相互借鑒各補(bǔ)所長(zhǎng)。本文通過青綠山水與淺絳山水的轉(zhuǎn)化關(guān)系,及歷代論著和代表性作品來(lái)分析淺絳色彩對(duì)后世山水畫創(chuàng)作的影響與啟示。本文由以下五個(gè)部分構(gòu)成：第一章：引言部分。本章從選題目的、研究現(xiàn)狀與研究方法及選題意義三個(gè)方面來(lái)概述。第二章：黃公望淺絳設(shè)色與傳統(tǒng)色彩觀的聯(lián)系。本章主要從“五彩施章”、“以色貌色”、“隨類賦彩”三個(gè)傳統(tǒng)色彩觀所包含的淺絳因素和黃公望的淺絳色彩對(duì)比進(jìn)行簡(jiǎn)述。第三章：淺絳山水畫色法的歷史演變。本章從青綠山水向水墨山水的轉(zhuǎn)變、淺絳山水畫的哲學(xué)基礎(chǔ)及淺絳山水畫的朔源三個(gè)方面來(lái)論述。第四章：黃公望淺絳設(shè)色的影響與意義。本章主要從黃公望淺絳山水畫的歷史貢獻(xiàn)、黃公望淺絳設(shè)色對(duì)明清及近現(xiàn)代山水畫創(chuàng)作的影響來(lái)論述。第五章：我在山水畫學(xué)習(xí)中對(duì)淺絳設(shè)色的理解與認(rèn)識(shí)。本章主要是我對(duì)自然的體會(huì)及創(chuàng)作實(shí)踐中的認(rèn)識(shí)與感想。
[Abstract]:In the painting theory of ancient painting history, there are many names about color painting or color painting. For example, "reset color", "recoloring", "stone color", "light coloring", "light crimson", etc., but they have not been clearly distinguished and defined. So it is vague and sensual in painting, even "green" and "light crimson", which we often use. Gorgeous extreme, return to plain. This is also true in the practice of setting colors in ancient landscape paintings. Before Jin and Tang dynasties, landscape painting mainly appeared in the form of green and green color. With the development and promotion of the literati painting movement led by Su Shi in the Song Dynasty, the aesthetic taste of the literati and ink people changed greatly, and the landscape painting with shallow applied color or light crimson color was gradually mounted on the stage of the history of painting. Has become the main form of expression of Chinese landscape painting creation. The color of light crimson was first born out of green color, and on the basis of ink painting, it gradually completed a change to small green color, light color setting, and on the basis of literati painting and ink landscape, it formed an innovative light crimson landscape with the label of the times. From the perspective of color setting, this paper discusses the color of Huang Gongwang's light Jiang landscape. Obviously, the light crimson can not but mention green and green, they often do not have a clear definition in use, always learn from each other. This paper analyzes the influence and inspiration of the color of light crimson on the creation of landscape painting through the transformation of green landscape and light crimson landscape, as well as the works of past dynasties and representative works. This paper consists of the following five parts: chapter one: introduction. This chapter summarizes the purpose of the topic, the research status and research methods, and the significance of the topic. Chapter two: the relation between Huang Gongwang's light crimson color and traditional color view. This chapter mainly from "five colors to apply the seal", "with color appearance color", "along with the kind of color" three traditional color view contains the light crimson factor and Huang Gongwang's light crimson color contrast to carry on the brief introduction. Chapter three: the historical evolution of the color method of shallow crimson landscape painting. This chapter discusses the transformation from green landscape to ink landscape, the philosophical foundation of shallow crimson landscape painting and the source of shallow-crimson landscape painting. Chapter four: the influence and significance of Huang Gongwang's light crimson color. This chapter mainly discusses the historical contribution of Huang Gongwang's shallow crimson landscape painting and the influence of Huang Gongwang's shallow crimson color on the creation of Ming and Qing dynasties and modern landscape paintings. Chapter five: my understanding and understanding of the color of light crimson in the study of landscape painting. This chapter is my understanding of nature and creative practice of understanding and feelings.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J212

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