【摘要】：在明末清初這個(gè)特殊的歷史時(shí)期中，，苛刻的新政使社會(huì)變得異常的動(dòng)蕩，也就是在這混亂的社會(huì)環(huán)境中，涌現(xiàn)大量和尚畫(huà)家，這在中國(guó)繪畫(huà)史上都是極其罕見(jiàn)的。“四僧”就是其中最具代表性的和尚畫(huà)家，這也是筆者選擇研究這四位僧人畫(huà)家的原因之一�！八纳钡睦L畫(huà)表現(xiàn)出與力追古法的“四王”一派不同的藝術(shù)取向，他們反對(duì)當(dāng)時(shí)畫(huà)壇泥古成癖的風(fēng)氣，對(duì)繪畫(huà)本體進(jìn)行了深入的反思。而在那個(gè)特殊時(shí)期，他們的山水繪畫(huà)中所顯現(xiàn)出的時(shí)代精神不僅是“四僧”對(duì)藝術(shù)不停追求的體現(xiàn)，同時(shí)表現(xiàn)著山水畫(huà)審美趣味的轉(zhuǎn)變，具有較強(qiáng)的研究?jī)r(jià)值。 藝術(shù)是時(shí)代的產(chǎn)物，是對(duì)一個(gè)時(shí)代最為直觀的呈現(xiàn)。中國(guó)山水繪畫(huà)則恰到好處的凸顯了這一特征，而中國(guó)畫(huà)的基本就是筆墨。筆墨泛指中國(guó)畫(huà)的用筆用墨，是中國(guó)繪畫(huà)創(chuàng)作的重要手段。筆墨不僅是繪畫(huà)創(chuàng)作的重要手段，其更重要的功能是傳達(dá)創(chuàng)作主體的藝術(shù)情感，這對(duì)現(xiàn)代藝術(shù)創(chuàng)作也是尤為重要的。“四僧”正是以其自身特殊的生活經(jīng)歷和內(nèi)心情感，并在對(duì)宋元以來(lái)的傳統(tǒng)筆墨語(yǔ)言繼承并融會(huì)貫通的基礎(chǔ)上進(jìn)行實(shí)踐創(chuàng)新，形成了具有自己強(qiáng)烈情感表現(xiàn)的山水繪畫(huà)作品。本文旨在通過(guò)對(duì)“四僧”山水畫(huà)筆墨語(yǔ)言的研究，將“四僧”山水畫(huà)筆墨中所蘊(yùn)藏的實(shí)質(zhì)從表象中揭示出來(lái)。 本文將“四僧”置于這特殊的歷史環(huán)境之中，首先，以“四僧”繪畫(huà)風(fēng)格形成的背景為切入點(diǎn)，對(duì)本文后面的論述作鋪墊。其次，將“四僧”山水繪畫(huà)作品與創(chuàng)作思想相互印證，研究繪畫(huà)形式是研究山水畫(huà)最直接的辦法，也是研究山筆墨的關(guān)鍵所在。本文著重從作品本體角度分析研究“四僧”山水畫(huà)繪畫(huà)中筆墨語(yǔ)言的表現(xiàn)特點(diǎn)，從而揭示“四僧”在山水畫(huà)筆墨技法上的傳承和演進(jìn)；然后，從情感、地域等方面對(duì)“四僧”筆墨所蘊(yùn)含的深意進(jìn)行分析；最后，對(duì)“四僧”為筆墨語(yǔ)言的發(fā)展所做出的重要貢獻(xiàn)進(jìn)行闡述。筆者希望通過(guò)對(duì)本論題的研究，能夠?qū)λ纳剿?huà)筆墨的研究引向更加深入的層面，并對(duì)現(xiàn)代山水繪畫(huà)創(chuàng)作起到一定的啟示作用。
[Abstract]:In the special historical period of the late Ming and the early Qing Dynasty, the harsh New deal made the society become unusually turbulent, that is, in this chaotic social environment, a large number of monks and painters emerged, which is extremely rare in the history of Chinese painting. "four monks" is one of the most representative monk painters, which is one of the reasons why I choose to study the four monks and painters. The painting of "four Monks" shows a different artistic orientation from the "four kings" of "four kings", who object to the idiosyncratic tradition of mud and antiquated in the painting world at that time, and deeply reflect on the painting ontology. In that special period, the spirit of the times displayed in their landscape painting is not only the embodiment of the four monks' pursuit of art, but also the change of aesthetic taste of landscape painting, which has strong research value. Art is the product of the times, is the most intuitive presentation of an era. Chinese landscape painting is just right to highlight this feature, and the basic Chinese painting is ink. Pen and ink refers to the use of ink in Chinese painting, which is an important means of Chinese painting creation. Pen and ink is not only an important means of painting, its more important function is to convey the artistic feelings of the creative subject, which is particularly important for modern art creation. "four monks" is based on their own special life experience and inner feelings, and on the basis of inheriting and integrating the traditional pen and ink language since the Song and Yuan dynasties, the four monks have formed their own strong emotional expression of landscape painting works. The purpose of this paper is to reveal the essence of the "four monks" landscape painting from the surface through the study of the "four monks" landscape painting and ink language. This paper puts "four monks" in this special historical environment. Firstly, the background of the painting style of "four monks" is taken as the starting point to pave the way for the discussion later in this paper. Secondly, the "four monks" landscape painting works and creative ideas mutually corroborate, the study of painting form is the most direct way to study landscape painting, but also the key to study mountain ink. This paper focuses on the analysis and study of the performance characteristics of the painting language of "four monks" in landscape painting from the perspective of works ontology, so as to reveal the inheritance and evolution of the "four monks" in the techniques of landscape painting. Then, from the emotional, regional and other aspects of the "four monks" pen and ink implications of the analysis; finally, the "four monks" for the development of pen and ink language made an important contribution to elaborate. The author hopes that through the study of this topic, it can lead to a deeper level of the study of the four monks' landscape painting, and play a certain role in inspiration to the creation of modern landscape painting.
【學(xué)位授予單位】：重慶師范大學(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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