元清隱士山水畫比較研究
發(fā)布時間：2018-10-25 16:27
【摘要】：隱逸文化是古代中國社會中的一種獨特的文化現(xiàn)象,它與中國的經(jīng)濟土壤、思想淵源、政治氛圍和文化好尚有著密切的關(guān)系。由于受到諸多因素的影響,在各個不同的歷史時期,隱逸文化呈現(xiàn)出不同的特點。元代與清代是中國歷史上極為少見的兩個由少數(shù)民族大一統(tǒng)的封建王朝,在這兩個朝代的藝術(shù)領(lǐng)域出現(xiàn)的最為獨特的現(xiàn)象便是隱士的大量出現(xiàn),而文人士大夫作為繪畫創(chuàng)作的主體,由此而帶來的隱士文化及隱士藝術(shù)的繁榮為中國藝術(shù)帶來了新的氣息和變革,也使元清兩代成為文人畫發(fā)展的高峰時代。元代與清代的隱士山水畫在中國藝術(shù)史上都具有重要地位,可以說沒有這兩個朝代的隱士山水藝術(shù),便沒有文人畫與山水畫的發(fā)展與成熟。元清隱士畫家這一群“特殊歷史機緣中的士”,在特殊的時代背景下所創(chuàng)造出的豐富的藝術(shù)財富不僅是中國繪畫重要的一部分,而他們通過對藝術(shù)不斷的探索與追求也使藝術(shù)變得更加成熟,更加貼近生命。在這個過程中畫家對藝術(shù)“美”的極致追求便變成了一種對生命的超越之美,是一種體驗萬物,通于天地,融自我和萬物為一體,從而獲得靈魂的適意,達到天人合一境界的過程。這種山水畫的嬗變無論對現(xiàn)代還是對將來山水畫藝術(shù)的發(fā)展都產(chǎn)生了不可磨滅的影響,他們這種抒情寫意、不斷推陳出新的精神也一直促進著山水畫發(fā)展之路上的不斷變革。因此比較研究元代與清代的隱士山水藝術(shù)不僅可以讓我們更加清晰的了解文人畫的發(fā)展脈絡(luò),也能讓我們理解在那個時代文人隱士的不同的人生經(jīng)歷和內(nèi)心世界。從元代與清代山水畫發(fā)展過程中我們可以看到兩者之間的共性即同為少數(shù)民族統(tǒng)治下的隱士山水畫的興盛。隱士作為一個特殊的群體在元清兩代為山水畫的發(fā)展與成熟做出了重要的貢獻,由此本文旨在研究元清兩代隱士山水,特別是對元清兩代隱士山水畫藝術(shù)進行比較研究,通過對比元代與清代社會政治、文化、經(jīng)濟的差異性發(fā)現(xiàn)元清兩代隱士山水畫藝術(shù)的相通性,更通過藝術(shù)自身發(fā)展的角度去看待元清兩代隱士山水藝術(shù)的差異性,用其中比較有典型性的元四家與清四僧進行具體比較,通過他們的作品發(fā)現(xiàn)他們不同的藝術(shù)思想、繪畫風(fēng)格、審美情趣,用繼承與發(fā)展的眼光去尋找他們山水藝術(shù)之間不同的隱逸風(fēng)格,最終尋找到隱逸山水畫發(fā)展的脈絡(luò)所在。
[Abstract]:Hermit culture is a unique cultural phenomenon in ancient Chinese society. It is closely related to China's economic soil, ideological origin, political atmosphere and good culture. Due to the influence of many factors, reclusive culture presents different characteristics in different historical periods. The Yuan Dynasty and the Qing Dynasty were two feudal dynasties with the great unification of ethnic minorities, which were rare in Chinese history. The most unique phenomenon in the artistic field of these two dynasties was the emergence of a large number of hermits. As the subject of painting, the prosperity of hermit culture and hermit art brought new breath and innovation to Chinese art, and also made the Yuan and Qing dynasties become the peak period for the development of literati painting. The hermit landscape painting of Yuan Dynasty and Qing Dynasty has an important position in the history of Chinese art. It can be said that without the hermit landscape art of these two dynasties, there would be no development and maturity of literati painting and landscape painting. The rich artistic wealth created by the recluse painters of the Yuan and Qing dynasties "in the special historical opportunity" is not only an important part of Chinese painting, but also an important part of Chinese painting. They also make art more mature and closer to life through the constant exploration and pursuit of art. In this process, the painters' ultimate pursuit of art "beauty" becomes a kind of transcendental beauty to life. It is a kind of experience of all things, connected to heaven and earth, and integrated with self and all things, so as to obtain the proper meaning of the soul. The process of reaching the realm of unity of man and nature. The evolution of this landscape painting has an indelible influence on the development of landscape painting art both in the modern and the future. Their lyric style and the spirit of constantly introducing the old and the new have also been promoting the continuous changes in the way of landscape painting development. Therefore, the comparative study of the hermit landscape art in Yuan Dynasty and Qing Dynasty can not only make us understand the development of literati paintings more clearly, but also make us understand the different life experiences and inner world of literati hermits in that era. From the development process of landscape painting in Yuan Dynasty and Qing Dynasty, we can see that the common character between them is the prosperity of hermit landscape painting under the rule of minority nationality. Hermits, as a special group, made important contributions to the development and maturity of landscape painting in the Yuan and Qing dynasties. The purpose of this paper is to study the landscape of hermit in the Yuan and Qing dynasties, especially the art of hermit landscape painting in the Yuan and Qing dynasties. By comparing the social, political, cultural and economic differences between the Yuan Dynasty and the Qing Dynasty, we find the similarities between the hermit landscape painting art of the Yuan and Qing dynasties, and look at the differences of the hermit landscape art between the Yuan Dynasty and the Qing Dynasty from the perspective of the development of the art itself. The four Yuan families, which are more typical, are compared with the four monks in the Qing Dynasty. Through their works, they find their different artistic thoughts, painting styles, and aesthetic tastes. With the perspective of inheritance and development to find their landscape art between the different reclusive style, and finally to find the development of hermit landscape painting.
【學(xué)位授予單位】：山東理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
[Abstract]:Hermit culture is a unique cultural phenomenon in ancient Chinese society. It is closely related to China's economic soil, ideological origin, political atmosphere and good culture. Due to the influence of many factors, reclusive culture presents different characteristics in different historical periods. The Yuan Dynasty and the Qing Dynasty were two feudal dynasties with the great unification of ethnic minorities, which were rare in Chinese history. The most unique phenomenon in the artistic field of these two dynasties was the emergence of a large number of hermits. As the subject of painting, the prosperity of hermit culture and hermit art brought new breath and innovation to Chinese art, and also made the Yuan and Qing dynasties become the peak period for the development of literati painting. The hermit landscape painting of Yuan Dynasty and Qing Dynasty has an important position in the history of Chinese art. It can be said that without the hermit landscape art of these two dynasties, there would be no development and maturity of literati painting and landscape painting. The rich artistic wealth created by the recluse painters of the Yuan and Qing dynasties "in the special historical opportunity" is not only an important part of Chinese painting, but also an important part of Chinese painting. They also make art more mature and closer to life through the constant exploration and pursuit of art. In this process, the painters' ultimate pursuit of art "beauty" becomes a kind of transcendental beauty to life. It is a kind of experience of all things, connected to heaven and earth, and integrated with self and all things, so as to obtain the proper meaning of the soul. The process of reaching the realm of unity of man and nature. The evolution of this landscape painting has an indelible influence on the development of landscape painting art both in the modern and the future. Their lyric style and the spirit of constantly introducing the old and the new have also been promoting the continuous changes in the way of landscape painting development. Therefore, the comparative study of the hermit landscape art in Yuan Dynasty and Qing Dynasty can not only make us understand the development of literati paintings more clearly, but also make us understand the different life experiences and inner world of literati hermits in that era. From the development process of landscape painting in Yuan Dynasty and Qing Dynasty, we can see that the common character between them is the prosperity of hermit landscape painting under the rule of minority nationality. Hermits, as a special group, made important contributions to the development and maturity of landscape painting in the Yuan and Qing dynasties. The purpose of this paper is to study the landscape of hermit in the Yuan and Qing dynasties, especially the art of hermit landscape painting in the Yuan and Qing dynasties. By comparing the social, political, cultural and economic differences between the Yuan Dynasty and the Qing Dynasty, we find the similarities between the hermit landscape painting art of the Yuan and Qing dynasties, and look at the differences of the hermit landscape art between the Yuan Dynasty and the Qing Dynasty from the perspective of the development of the art itself. The four Yuan families, which are more typical, are compared with the four monks in the Qing Dynasty. Through their works, they find their different artistic thoughts, painting styles, and aesthetic tastes. With the perspective of inheritance and development to find their landscape art between the different reclusive style, and finally to find the development of hermit landscape painting.
【學(xué)位授予單位】：山東理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
【參考文獻】
相關(guān)期刊論文 前5條
1 江麗亞;;論元代隱士山水畫家與抒情寫意山水畫[J];美術(shù)教育研究;2014年13期
2 劉建榮;;隱逸的山水——隱士文化對中國山水畫的影響[J];天津美術(shù)學(xué)院學(xué)報;2012年04期
3 謝華文;;“元四家”的山水畫風(fēng)格與文人畫藝術(shù)特征及美學(xué)思想[J];綿陽師范學(xué)院學(xué)報;2011年01期
4 鄧喬彬;李杰榮;;趙孟，
本文編號：2294241
本文鏈接：http://sikaile.net/wenyilunwen/huihuayishu/2294241.html
