借古開今：黃秋園山水畫藝術(shù)風格的尋跡與思考
發(fā)布時間：2018-11-18 11:21
【摘要】：黃秋園先生是20世紀中國畫壇借古開今的山水畫大師，是近現(xiàn)代中國傳統(tǒng)山水畫派中最具個人藝術(shù)特色的代表人物，他的藝術(shù)生涯是頗具傳奇色彩的，生前寂寞守道，身后名聲大噪。他在繪畫藝術(shù)修養(yǎng)方面有著極為深厚學識，山水、花鳥、人物、界畫、書法、詩文無不擅長，其中尤以山水畫最為精湛。黃秋園一生都在致力于對傳統(tǒng)山水畫的實踐與開拓，集諸家之長，自創(chuàng)語匯，在汲取傳統(tǒng)山水畫精髓的同時，加以自我融合與創(chuàng)新，形成了獨具個人風格的山水畫風貌。作為傳統(tǒng)山水畫的集大成者，他的山水畫在筆墨風格、構(gòu)圖形式和創(chuàng)作題材上有著多種表現(xiàn)形式，筆墨技法方面他早年大膽吸收了宋人的雄渾博大、石濤的清新豪邁、石溪的蒼茫老辣、王蒙的繁密蒼古，黃賓虹的渾厚潤澤晚年更是將積墨法與皴法運用發(fā)揮到了極致，，獨創(chuàng)了不同于前人的“秋園皴”；而章法布局方面則融合了北宋的“全景式”山水圖式和王蒙密匝繁復(fù)的構(gòu)圖，常常畫的滿紙云煙、密不透風、渾厚華滋。本文從山水畫的筆墨、構(gòu)圖、題材、藝術(shù)思想等四個方面為主要著手點，對黃秋園的山水畫藝術(shù)風格特點的形成進行了較全面的尋跡、梳理、思考和再認識。 本文通過大量作品分析與比較，剖析黃秋園藝術(shù)風格對中國傳統(tǒng)山水畫筆墨的繼承與發(fā)展，進而尋跡與思考。全文由引言、正文六章和結(jié)語八個部分組成。引言從研究背景與意義、國內(nèi)外研究現(xiàn)狀和研究范圍和方法三小節(jié)為后文黃秋園藝術(shù)風格尋跡與思考做鋪墊。正文第一部分以生平簡介和時代背景解析黃秋園在中國傳統(tǒng)繪畫中衰的歷史情況下的“被發(fā)現(xiàn)”。第二部分以黃秋園在筆墨風格方面對中國傳統(tǒng)山水畫筆墨的繼承與發(fā)展作為探討重點，對筆墨與丘壑、積墨法、皴法進行了較為全面的梳理。第三部分則著力于分析“全景式”和密匝繁復(fù)的構(gòu)圖形式在黃秋園山水畫中的表現(xiàn)。第四部分析了他的山水畫的創(chuàng)作題材的來源，以廬山為例將沈周、關(guān)仝創(chuàng)作的同一題材的作品進行了比對分析。最后一部分論述了黃秋園山水畫藝術(shù)對當代中國山水畫的發(fā)展與影響。
[Abstract]:Mr. Huang Qiuyuan is a master of landscape painting in Chinese painting circles in the 20th century. He is the most representative figure in modern Chinese traditional landscape painting schools with the most individual artistic characteristics. His artistic career is legendary, and he was lonely and conservative. There's a lot of fame behind you. He has a very profound knowledge of painting art, landscape, flowers and birds, figures, painting, calligraphy, poetry, especially the most exquisite landscape painting. Huang Qiuyuan is devoted to the practice and development of traditional landscape painting all his life. He gathers the strong points of various families and creates his own vocabulary. While absorbing the essence of traditional landscape painting, he combines and innovates himself to form a unique style of landscape painting. As a master of traditional landscape painting, his landscape painting has many forms of expression in the style, composition and subject matter of painting and painting. In his early years, he boldly absorbed the great power of the Song Dynasty and the fresh and heroic style of Shi Tao. Shixi's boundless old hot, Wang Meng's dense Canggu, Huang Binhong's rich moist late years is will accumulate the ink method and the chapping method to exert to the extreme, has created the "autumn garden chapped" which is different from the predecessor; The layout of the composition is a combination of the Northern Song "panoramic" landscape pattern and Wang Meng's dense and complicated composition, often painted full of paper smoke, airtight, rich Huazhi. From four aspects of landscape painting, such as brushwork, composition, subject matter and artistic thought, this paper makes a comprehensive search, combing, pondering and rethinking on the formation of Huangqiuyuan's artistic style of landscape painting. Through the analysis and comparison of a large number of works, this paper analyzes the inheritance and development of Huang Qiuyuan's artistic style to the traditional Chinese landscape painting, and then looks for a trace and thinks about it. The full text consists of introduction, six chapters and conclusion. Introduction from the research background and significance, domestic and foreign research status, research scope and methods of three sections for the later Huangqiuyuan art style search and thinking. The first part of the text analyzes Huang Qiuyuan's "being discovered" in the historical situation of the decline of Chinese traditional painting with a brief introduction of his life and background of the times. The second part focuses on the inheritance and development of traditional Chinese landscape painting in the aspect of Huang Qiuyuan's style of painting and ink. The third part focuses on the analysis of the "panorama" and the complex composition of the form in Huangqiuyuan landscape painting performance. The fourth part analyzes the source of his landscape painting, taking Lushan as an example, compares the works of Shen Zhou and Guan Tong on the same subject. The last part discusses the development and influence of Huangqiuyuan landscape painting art on contemporary Chinese landscape painting.
【學位授予單位】：江西師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212
本文編號：2339904
[Abstract]:Mr. Huang Qiuyuan is a master of landscape painting in Chinese painting circles in the 20th century. He is the most representative figure in modern Chinese traditional landscape painting schools with the most individual artistic characteristics. His artistic career is legendary, and he was lonely and conservative. There's a lot of fame behind you. He has a very profound knowledge of painting art, landscape, flowers and birds, figures, painting, calligraphy, poetry, especially the most exquisite landscape painting. Huang Qiuyuan is devoted to the practice and development of traditional landscape painting all his life. He gathers the strong points of various families and creates his own vocabulary. While absorbing the essence of traditional landscape painting, he combines and innovates himself to form a unique style of landscape painting. As a master of traditional landscape painting, his landscape painting has many forms of expression in the style, composition and subject matter of painting and painting. In his early years, he boldly absorbed the great power of the Song Dynasty and the fresh and heroic style of Shi Tao. Shixi's boundless old hot, Wang Meng's dense Canggu, Huang Binhong's rich moist late years is will accumulate the ink method and the chapping method to exert to the extreme, has created the "autumn garden chapped" which is different from the predecessor; The layout of the composition is a combination of the Northern Song "panoramic" landscape pattern and Wang Meng's dense and complicated composition, often painted full of paper smoke, airtight, rich Huazhi. From four aspects of landscape painting, such as brushwork, composition, subject matter and artistic thought, this paper makes a comprehensive search, combing, pondering and rethinking on the formation of Huangqiuyuan's artistic style of landscape painting. Through the analysis and comparison of a large number of works, this paper analyzes the inheritance and development of Huang Qiuyuan's artistic style to the traditional Chinese landscape painting, and then looks for a trace and thinks about it. The full text consists of introduction, six chapters and conclusion. Introduction from the research background and significance, domestic and foreign research status, research scope and methods of three sections for the later Huangqiuyuan art style search and thinking. The first part of the text analyzes Huang Qiuyuan's "being discovered" in the historical situation of the decline of Chinese traditional painting with a brief introduction of his life and background of the times. The second part focuses on the inheritance and development of traditional Chinese landscape painting in the aspect of Huang Qiuyuan's style of painting and ink. The third part focuses on the analysis of the "panorama" and the complex composition of the form in Huangqiuyuan landscape painting performance. The fourth part analyzes the source of his landscape painting, taking Lushan as an example, compares the works of Shen Zhou and Guan Tong on the same subject. The last part discusses the development and influence of Huangqiuyuan landscape painting art on contemporary Chinese landscape painting.
【學位授予單位】：江西師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212
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