范寬《溪山行旅圖》繪畫風(fēng)格與意境詮釋
發(fā)布時(shí)間：2018-11-25 16:43
【摘要】：中國(guó)傳統(tǒng)山水畫自出現(xiàn)以來就成為了中國(guó)畫壇的主力軍，北宋時(shí)期更是中國(guó)山水畫的重要變革期，肩負(fù)繼承和發(fā)揚(yáng)前代卓越成就的畫家們做出了努力的嘗試并取得了矚目的成就。更加豐富的山水畫筆墨語言和更加具有指導(dǎo)性的山水畫評(píng)判要求在此時(shí)接近于完善，內(nèi)容題材的表現(xiàn)、筆墨技巧的運(yùn)用和繪畫理論的指導(dǎo)等方面在此時(shí)都有了長(zhǎng)足的發(fā)展，師造化、重理性和畫家內(nèi)心世界的抒發(fā)都體現(xiàn)在此時(shí)的作品上，并成為此時(shí)山水畫創(chuàng)作的主導(dǎo)力量。 范寬作為這一時(shí)期乃至整個(gè)山水畫史中的領(lǐng)軍人物更是得到了后世的無比推崇，其傳世經(jīng)典名作《溪山行旅圖》更是開創(chuàng)了山水畫的高峰，給后人的心中打下了深深的烙印。范寬《溪山行旅圖》是北宋時(shí)期的山水畫代表作品，也是一個(gè)重要的入口，為后世研究此時(shí)的山水畫提供了參照依據(jù)。此圖大山大水的全景構(gòu)圖、細(xì)致刻畫的山石樹木、復(fù)合多變的筆墨皴法體現(xiàn)出了范寬山水的繪畫風(fēng)格，其意境深遠(yuǎn)，沖擊著觀者的心靈，使人產(chǎn)生無盡的凝思。 作為這一時(shí)期北方山水畫大師，范寬開辟了中國(guó)山水畫的新天地。對(duì)于后人來說，主要還是從他的杰作《溪山行旅圖》入手，本文就立足于《溪山行旅圖》開展研究，分析作品的繪畫風(fēng)格極其內(nèi)在意境詮釋。 通過對(duì)史料的分析，對(duì)古代畫論的研究，結(jié)合作品的形式進(jìn)行深入的探析，本文以《溪山行旅圖》為主軸，通過對(duì)范寬的繪畫風(fēng)格、繪畫風(fēng)格的成因、作品意境的詮釋進(jìn)行了研究。本文結(jié)合范寬所處的時(shí)代背景，以《溪山行旅圖》為代表從構(gòu)圖、筆法、用墨、對(duì)景造意和點(diǎn)景物分析其繪畫風(fēng)格；從當(dāng)時(shí)的時(shí)代特征、師承關(guān)系、藝術(shù)自身發(fā)展規(guī)律、地域環(huán)境的影響及對(duì)道家哲學(xué)觀的追求出發(fā)，研究作品繪畫風(fēng)格的成因；從構(gòu)圖、“師造化”的圖真山水、永恒的宇宙、瞬間的人生和“澄懷觀道”“虛實(shí)相生”的道家美學(xué)觀出發(fā)來研究《溪山行旅圖》的意境美。 中國(guó)山水畫家尊重大自然，熱愛大自然，悠久的歷史和豐富的傳統(tǒng)奠定了中國(guó)山水畫別具一格的獨(dú)特風(fēng)貌。通過范寬的藝術(shù)歷程，我想我們應(yīng)該繼續(xù)深入研究古代傳統(tǒng)繪畫，結(jié)合傳統(tǒng)文化研究山水畫特色，投入大自然，感受大自然，這樣才能使中國(guó)山水畫得到長(zhǎng)足的發(fā)展，，才能使中國(guó)山水畫繼續(xù)占據(jù)著世界藝術(shù)殿堂的一席之地并攀向更高的山峰。
[Abstract]:Chinese traditional landscape painting has become the main force in the Chinese painting world since its appearance, and the Northern Song Dynasty is an important period of transformation of Chinese landscape painting. Painters who inherit and carry forward the outstanding achievements of the previous generation have made great efforts and made remarkable achievements. At this time, the more abundant language of landscape painting and the more instructive requirements of landscape painting judgment are approaching perfection, the performance of content subject matter, the use of stroke and ink skills and the guidance of painting theory have made great progress at this time. The teacher's creation, the emphasis on reason and the expression of the painter's inner world are reflected in the works at this time, and become the leading force in the creation of landscape painting at this time. Fan Kuan, as a leading figure in the history of landscape painting in this period and the whole history of landscape painting, has been greatly respected by later generations, and his classic masterpiece, "Journey to Xishan", has created the peak of landscape painting and made a deep imprint on the hearts of later generations. Fan Kuan's "Xi Shan Travel Map" is a representative work of landscape painting in the Northern Song Dynasty, and it is also an important entrance, which provides a reference basis for the later study of landscape painting at this time. The panoramic composition of the mountain and the flood, the detailed depiction of the mountain and stone trees, and the complex and changeable brush and ink chapping method reflect the painting style of Fan Kuan's mountains and rivers, whose artistic conception is far-reaching, impinges on the mind of the viewer, and makes people have endless thinking. As a master of northern landscape painting in this period, Fan Kuan opened up a new world of Chinese landscape painting. For the later generations, it is mainly from his masterpiece, "Xi Shan Tour Map", this article based on the "Xi Shan Tour Map" to carry out research, analysis of the painting style of the works and the interpretation of the intrinsic artistic conception. Through the analysis of historical data, the study of ancient painting theory and the deep analysis of the form of the works, this paper takes "the traveling Pictures of the Xishan Mountain" as the main axis, through the painting style of Fan Kuan, the causes of the painting style. The interpretation of artistic conception is studied. Based on the background of Fan Kuan's time, this paper analyzes his painting style from composition, brushwork and ink. Starting from the characteristics of the times, the relationship between teachers and students, the development law of art itself, the influence of regional environment and the pursuit of Taoist philosophy, this paper studies the causes of painting style. From the view of composition, real landscape, eternal universe, instant life and Taoist aesthetics, the author studies the artistic conception of Xi Shan Tour. Chinese landscape painters respect nature, love nature, long history and rich tradition have laid a unique style of Chinese landscape painting. Through Fan Kuan's artistic course, I think we should continue to study the ancient traditional painting, combine with the traditional culture to study the characteristics of landscape painting, invest in nature and feel nature, so that we can make great progress in Chinese landscape painting. To enable Chinese landscape painting to continue to occupy a place in the world hall of art and climb to higher peaks.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
[Abstract]:Chinese traditional landscape painting has become the main force in the Chinese painting world since its appearance, and the Northern Song Dynasty is an important period of transformation of Chinese landscape painting. Painters who inherit and carry forward the outstanding achievements of the previous generation have made great efforts and made remarkable achievements. At this time, the more abundant language of landscape painting and the more instructive requirements of landscape painting judgment are approaching perfection, the performance of content subject matter, the use of stroke and ink skills and the guidance of painting theory have made great progress at this time. The teacher's creation, the emphasis on reason and the expression of the painter's inner world are reflected in the works at this time, and become the leading force in the creation of landscape painting at this time. Fan Kuan, as a leading figure in the history of landscape painting in this period and the whole history of landscape painting, has been greatly respected by later generations, and his classic masterpiece, "Journey to Xishan", has created the peak of landscape painting and made a deep imprint on the hearts of later generations. Fan Kuan's "Xi Shan Travel Map" is a representative work of landscape painting in the Northern Song Dynasty, and it is also an important entrance, which provides a reference basis for the later study of landscape painting at this time. The panoramic composition of the mountain and the flood, the detailed depiction of the mountain and stone trees, and the complex and changeable brush and ink chapping method reflect the painting style of Fan Kuan's mountains and rivers, whose artistic conception is far-reaching, impinges on the mind of the viewer, and makes people have endless thinking. As a master of northern landscape painting in this period, Fan Kuan opened up a new world of Chinese landscape painting. For the later generations, it is mainly from his masterpiece, "Xi Shan Tour Map", this article based on the "Xi Shan Tour Map" to carry out research, analysis of the painting style of the works and the interpretation of the intrinsic artistic conception. Through the analysis of historical data, the study of ancient painting theory and the deep analysis of the form of the works, this paper takes "the traveling Pictures of the Xishan Mountain" as the main axis, through the painting style of Fan Kuan, the causes of the painting style. The interpretation of artistic conception is studied. Based on the background of Fan Kuan's time, this paper analyzes his painting style from composition, brushwork and ink. Starting from the characteristics of the times, the relationship between teachers and students, the development law of art itself, the influence of regional environment and the pursuit of Taoist philosophy, this paper studies the causes of painting style. From the view of composition, real landscape, eternal universe, instant life and Taoist aesthetics, the author studies the artistic conception of Xi Shan Tour. Chinese landscape painters respect nature, love nature, long history and rich tradition have laid a unique style of Chinese landscape painting. Through Fan Kuan's artistic course, I think we should continue to study the ancient traditional painting, combine with the traditional culture to study the characteristics of landscape painting, invest in nature and feel nature, so that we can make great progress in Chinese landscape painting. To enable Chinese landscape painting to continue to occupy a place in the world hall of art and climb to higher peaks.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
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