北宋山水畫中的自然觀
發(fā)布時(shí)間：2018-12-11 18:34
【摘要】：一般來說,自然觀的問題應(yīng)屬于哲學(xué)的范疇。人們?cè)谂c自然(自然界)不斷發(fā)生關(guān)聯(lián)的過程中,逐漸將積累起來的具體經(jīng)驗(yàn)性認(rèn)知提升為一種觀念性認(rèn)知,在漫長(zhǎng)的人類演化史中,后者越來越具有了形而上的哲學(xué)特征,也正是因?yàn)槿绱?文明的進(jìn)程與特性一定程度上決定了自然觀的形態(tài)。反過來說,自然觀的哲學(xué)屬性也必然地意味著它的發(fā)展本身攜帶了文明進(jìn)程的痕跡。北宋時(shí)代是中國哲學(xué)思想發(fā)展史中的一個(gè)高漲期和活躍期,受到這種影響,自然觀也呈現(xiàn)出時(shí)代精神所賦予的哲學(xué)內(nèi)涵,這種特質(zhì)不期然而然地折射到文化藝術(shù)領(lǐng)域之中,從一個(gè)方面影響到文藝精神和樣態(tài)。 北宋時(shí)代的山水畫以自然山水——亦即進(jìn)入了人們眼中的自然為題,既具備宏觀的視覺維度,又含有著“盡精微”的體察精神,它與自然觀念的聯(lián)結(jié)尤為緊密,可以這樣說,在這一點(diǎn)上,如同山水詩等其他以自然山水為母題的文藝樣式一樣,山水畫家眼中的山水,即是時(shí)代自然觀視野下的自然。所以,從北宋山水畫作品及理論的角度來觀察其中藏蘊(yùn)的自然觀念,對(duì)于我們更加深入地了解、研究那個(gè)時(shí)代的創(chuàng)作思想、創(chuàng)作觀念都是有益的。將自然觀從哲學(xué)層面進(jìn)行研究,可以說已不少見,漸成傳統(tǒng)。從方式上來說,一般是由代表人物的個(gè)人觀念認(rèn)知入手,通過比較與整合,將共識(shí)性觀念形態(tài)逐漸匯聚、提煉特征,構(gòu)建一個(gè)時(shí)代的整體性觀念面貌。針對(duì)某一具體學(xué)科領(lǐng)域或者文藝樣式的這方面研究也漸漸多起來,但尚未形成完整的系統(tǒng)。大致是在20世紀(jì)80年代前后,人們開始更多地思考中國山水畫的前途與民族性問題,加之美術(shù)比較等研究方法的流行,在不同文化背景的繪畫樣式研究展開的同時(shí),人們開始更為全面地審視藝術(shù)及其相關(guān)問題,自然觀與山水畫之間的關(guān)系問題受到了越來越多的重視。 北宋是中國歷史上的一個(gè)轉(zhuǎn)型期,宋學(xué)興起,新的思潮表面平靜卻暗潮洶涌地激蕩著社會(huì)的每一個(gè)角落,北宋人的自然觀也受到了這種思潮的影響,表現(xiàn)出很多新特征。這樣的情形與山水畫自身發(fā)展的新局面相碰撞,使得北宋的山水畫呈現(xiàn)出了時(shí)代性的面貌。在具體的北宋山水畫作品中,輔之以繪畫理論研究,發(fā)現(xiàn)自然觀念的新特征,是本文的基本目的。文章總體分為五個(gè)部分：首先是從哲學(xué)、審美理想、圖式表征三個(gè)層面分析自然觀的含義。其次是梳理北宋時(shí)代自然觀的傳承與發(fā)展。再次是將北宋山水畫家的自然審美特征提取出來,加以剖析。第四,也是文章的重點(diǎn),將北宋山水畫創(chuàng)作階段分為三期,并分別從繪畫的形制、地域特征、圖式的意義及具體作品分析中提煉自然觀念的樣態(tài)特征。最后一部分是結(jié)論,希冀這項(xiàng)對(duì)于傳統(tǒng)問題的研究工作能夠?qū)Ξ?dāng)下有所啟迪。
[Abstract]:Generally speaking, the problem of view of nature should belong to the category of philosophy. In the process of being connected with nature (nature), people gradually promote the concrete experiential cognition accumulated into a kind of idealistic cognition. In the long history of human evolution, the latter has more and more metaphysical characteristics. Because of this, the process and characteristics of civilization to some extent determine the shape of the concept of nature. On the other hand, the philosophical attribute of the view of nature necessarily means that its development itself carries the trace of civilization. The Northern Song Dynasty was an upsurge and an active period in the history of the development of Chinese philosophy and thought. Under this influence, the view of nature also showed the philosophical connotation endowed by the spirit of the times, which was reflected in the field of culture and art. It affects the spirit and appearance of literature and art in one way. The landscape painting of the Northern Song Dynasty, with the theme of natural landscape-that is, the nature in the eyes of people, not only has the macroscopic visual dimension, but also contains the spirit of "being meticulous", and it is particularly closely connected with the concept of nature. On this point, like other literary and artistic styles with natural landscape as its motif, the landscape in the eyes of landscape painters is the nature in the view of nature of the times. Therefore, from the perspective of the Northern Song Dynasty landscape painting works and theory to observe the hidden natural concepts, for us to understand more deeply, to study the creative ideas of that era, creative ideas are beneficial. It can be said that it is not uncommon to study the view of nature from the philosophical level, gradually becoming a tradition. Generally speaking, it begins with the personal concept cognition of the representative personage. Through comparison and integration, the consensus concept forms gradually converge, refine the characteristics, and construct a holistic concept appearance of the times. The research on a specific subject field or literary style has gradually increased, but has not yet formed a complete system. Roughly, around the 1980s, people began to think more about the future and nationality of Chinese landscape painting, and the popularity of research methods such as art comparison, while the study of painting styles with different cultural backgrounds began at the same time. People begin to examine art and its related problems more and more, and more attention has been paid to the relationship between natural view and landscape painting. The Northern Song Dynasty was a transitional period in the history of China. With the rise of the Song School, the new ideological trend appeared calm but the dark tide stormed every corner of the society. The people's view of nature in the Northern Song Dynasty was also influenced by this trend of thought, showing many new characteristics. This kind of situation collides with the new situation of landscape painting itself development, making the landscape painting of the Northern Song Dynasty present the feature of the times. The basic purpose of this paper is to find the new features of the concept of nature in the specific works of landscape painting of the Northern Song Dynasty, supplemented by the study of painting theory. The article is divided into five parts: firstly, it analyzes the meaning of natural view from three aspects: philosophy, aesthetic ideal and schema representation. Secondly, the inheritance and development of the concept of nature in the Northern Song Dynasty. Thirdly, the natural aesthetic characteristics of landscape painters in the Northern Song Dynasty were extracted and analyzed. Fourth, is the focus of the article, the Northern Song Dynasty landscape painting creative stage is divided into three stages, and from the painting form, regional characteristics, schemata significance and specific works analysis of the natural concept of the model features. The last part is the conclusion, hoping that this research on traditional issues can enlighten the present.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
本文編號(hào)：2373026
[Abstract]:Generally speaking, the problem of view of nature should belong to the category of philosophy. In the process of being connected with nature (nature), people gradually promote the concrete experiential cognition accumulated into a kind of idealistic cognition. In the long history of human evolution, the latter has more and more metaphysical characteristics. Because of this, the process and characteristics of civilization to some extent determine the shape of the concept of nature. On the other hand, the philosophical attribute of the view of nature necessarily means that its development itself carries the trace of civilization. The Northern Song Dynasty was an upsurge and an active period in the history of the development of Chinese philosophy and thought. Under this influence, the view of nature also showed the philosophical connotation endowed by the spirit of the times, which was reflected in the field of culture and art. It affects the spirit and appearance of literature and art in one way. The landscape painting of the Northern Song Dynasty, with the theme of natural landscape-that is, the nature in the eyes of people, not only has the macroscopic visual dimension, but also contains the spirit of "being meticulous", and it is particularly closely connected with the concept of nature. On this point, like other literary and artistic styles with natural landscape as its motif, the landscape in the eyes of landscape painters is the nature in the view of nature of the times. Therefore, from the perspective of the Northern Song Dynasty landscape painting works and theory to observe the hidden natural concepts, for us to understand more deeply, to study the creative ideas of that era, creative ideas are beneficial. It can be said that it is not uncommon to study the view of nature from the philosophical level, gradually becoming a tradition. Generally speaking, it begins with the personal concept cognition of the representative personage. Through comparison and integration, the consensus concept forms gradually converge, refine the characteristics, and construct a holistic concept appearance of the times. The research on a specific subject field or literary style has gradually increased, but has not yet formed a complete system. Roughly, around the 1980s, people began to think more about the future and nationality of Chinese landscape painting, and the popularity of research methods such as art comparison, while the study of painting styles with different cultural backgrounds began at the same time. People begin to examine art and its related problems more and more, and more attention has been paid to the relationship between natural view and landscape painting. The Northern Song Dynasty was a transitional period in the history of China. With the rise of the Song School, the new ideological trend appeared calm but the dark tide stormed every corner of the society. The people's view of nature in the Northern Song Dynasty was also influenced by this trend of thought, showing many new characteristics. This kind of situation collides with the new situation of landscape painting itself development, making the landscape painting of the Northern Song Dynasty present the feature of the times. The basic purpose of this paper is to find the new features of the concept of nature in the specific works of landscape painting of the Northern Song Dynasty, supplemented by the study of painting theory. The article is divided into five parts: firstly, it analyzes the meaning of natural view from three aspects: philosophy, aesthetic ideal and schema representation. Secondly, the inheritance and development of the concept of nature in the Northern Song Dynasty. Thirdly, the natural aesthetic characteristics of landscape painters in the Northern Song Dynasty were extracted and analyzed. Fourth, is the focus of the article, the Northern Song Dynasty landscape painting creative stage is divided into three stages, and from the painting form, regional characteristics, schemata significance and specific works analysis of the natural concept of the model features. The last part is the conclusion, hoping that this research on traditional issues can enlighten the present.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
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，本文編號(hào)：2373026
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