淺析王蒙繁體山水的蒼厚之美
發(fā)布時(shí)間：2019-01-06 14:59
【摘要】：元代,經(jīng)濟(jì)、文化衰敗,藝術(shù)也發(fā)生了很大變化,對(duì)藝術(shù)家的生活和思想造成巨大影響,特別是對(duì)漢人知識(shí)分子的打壓,他們中的許多人不能沿著“學(xué)而優(yōu)則仕”之路去施展抱負(fù),表現(xiàn)出出世的隱逸心態(tài),他們或入道參禪,或游于山林,造就了一批文人藝術(shù)家�！霸募摇本褪且元�(dú)特的藝術(shù)風(fēng)格在此時(shí)期出現(xiàn)的,在中國美術(shù)史上占據(jù)重要地位,對(duì)以后的畫風(fēng)影響深遠(yuǎn)。王蒙以其“蒼厚”且又超凡脫俗的“繁體”繪畫風(fēng)格在元代山水中獨(dú)步。作為元四家之一的王蒙,在繪畫領(lǐng)域享有極高的聲譽(yù),其在元四家中的藝術(shù)面貌是最為多樣的,也是畫家創(chuàng)造力旺盛的表現(xiàn)。早期受儒家思想影響比較大,后受產(chǎn)生于魏晉時(shí)期的隱逸思想和當(dāng)時(shí)文人生活的侵染,開始辭官歸隱,優(yōu)游林下,寄情于山水筆墨,其山水畫布景繁密,用筆毛澀透削,用墨蒼潤意境深邃,是其精神的寫照,畫面充滿空靈、靜謐之氣。王蒙山水的“繁”的“蒼厚”之美,是其師傳統(tǒng)和師造化的體悟,他隱居在黃鶴山三十年左右,并游于太湖、家鄉(xiāng)一帶,體驗(yàn)真實(shí)山川的風(fēng)貌,攝取自然景物之神,用淡泊之心關(guān)照自然,靜寂的山川與脫塵的心靈鍥合,用自己多樣化的筆墨寫出蒼茫深邃的心中山,繁密且透著空靈繁山是其精神的寄托,是理想的境界。由于文獻(xiàn)的缺少和其繪畫風(fēng)格的多變想詳細(xì)闡述繪畫成就是非常困難的,本文主要以風(fēng)格學(xué)的方法,,將畫家所處的社會(huì)文化背景、畫家生平活動(dòng)、畫家的繪畫思想、畫家的師承關(guān)系等與作品圖示風(fēng)格結(jié)合,通過對(duì)代表性作品的淺見分析,以及其生平經(jīng)歷的簡(jiǎn)述粗略了解其山水畫的基本面貌所呈現(xiàn)的“蒼厚”之感。通過對(duì)王蒙的《青卞隱居圖》的分析,淺談王蒙崇山復(fù)嶺的畫面形式呈現(xiàn)出來表現(xiàn)江南山水“蒼茫潤秀”的“蒼厚”之美畫面特征及其“繁筆”技法的審美特征,并形成如此“蒼厚”畫風(fēng)的來源以及王蒙形成自己風(fēng)格的三個(gè)時(shí)期的演變和對(duì)后世產(chǎn)生的影響來進(jìn)行研究。
[Abstract]:In the Yuan Dynasty, the economy and culture declined, and the arts also underwent great changes, which had a great impact on the life and thinking of artists, especially on the intellectuals of the Han people. Many of them could not follow the path of "learning and doing best" to show their ambition and show a reclusive attitude. They either went to Taoism to visit Zen or traveled to the mountains and forests to create a group of literati and artists. "Yuan four families" appeared in this period with its unique artistic style, which occupies an important position in the history of Chinese art and has a profound influence on the style of painting in the future. Wang Meng's unique painting style of "traditional style" in Yuan Dynasty. Wang Meng, as one of the four Yuan families, enjoys a high reputation in the field of painting. The early period was influenced by Confucianism, and was later influenced by the seclusion of the Wei and Jin dynasties and the life of the literati at that time. With the deep mood, is its spiritual portrayal, the picture full of empty, quiet spirit. The beauty of Wang Meng's "numerous" pale and thick "mountains and rivers is his teacher's tradition and the understanding of his teacher's creation. He has lived in the Yellow Heshan Mountains for about 30 years, and has swam around Taihu Lake, his hometown, to experience the true scenery of the mountains and rivers, and to ingest the gods of natural scenery. Take care of nature with indifferent heart, quiet mountains and dedusting heart, write out vast and deep heart Zhongshan with their own diversified pen and ink, the dense and empty mountain is its spiritual sustenance and ideal state. Because of the lack of literature and the variety of painting style, it is very difficult to elaborate the achievement of painting in detail. In this paper, by stylistic method, the social and cultural background of the painter, the life activities of the painter, the painter's painting thought, Combined with the graphic style of the works, the painter's relationship between the teacher and the master, and through the analysis of the representative works, as well as the brief description of his life experience, the author roughly understands the feeling of "Canghou" presented by the basic features of his landscape paintings. Through the analysis of Wang Meng's "Green Bian seclusion Picture", this paper briefly talks about the picture form of Wang Meng Chong Shan Fu Ling, which shows the aesthetic features of "Cang thick" of Jiangnan Mountain and Water, and the aesthetic features of "complex pen" technique. And the formation of such a "Canghou" style of origin and Wang Meng formed his own style of three periods of evolution and influence on later generations to study.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212
本文編號(hào)：2402945
[Abstract]:In the Yuan Dynasty, the economy and culture declined, and the arts also underwent great changes, which had a great impact on the life and thinking of artists, especially on the intellectuals of the Han people. Many of them could not follow the path of "learning and doing best" to show their ambition and show a reclusive attitude. They either went to Taoism to visit Zen or traveled to the mountains and forests to create a group of literati and artists. "Yuan four families" appeared in this period with its unique artistic style, which occupies an important position in the history of Chinese art and has a profound influence on the style of painting in the future. Wang Meng's unique painting style of "traditional style" in Yuan Dynasty. Wang Meng, as one of the four Yuan families, enjoys a high reputation in the field of painting. The early period was influenced by Confucianism, and was later influenced by the seclusion of the Wei and Jin dynasties and the life of the literati at that time. With the deep mood, is its spiritual portrayal, the picture full of empty, quiet spirit. The beauty of Wang Meng's "numerous" pale and thick "mountains and rivers is his teacher's tradition and the understanding of his teacher's creation. He has lived in the Yellow Heshan Mountains for about 30 years, and has swam around Taihu Lake, his hometown, to experience the true scenery of the mountains and rivers, and to ingest the gods of natural scenery. Take care of nature with indifferent heart, quiet mountains and dedusting heart, write out vast and deep heart Zhongshan with their own diversified pen and ink, the dense and empty mountain is its spiritual sustenance and ideal state. Because of the lack of literature and the variety of painting style, it is very difficult to elaborate the achievement of painting in detail. In this paper, by stylistic method, the social and cultural background of the painter, the life activities of the painter, the painter's painting thought, Combined with the graphic style of the works, the painter's relationship between the teacher and the master, and through the analysis of the representative works, as well as the brief description of his life experience, the author roughly understands the feeling of "Canghou" presented by the basic features of his landscape paintings. Through the analysis of Wang Meng's "Green Bian seclusion Picture", this paper briefly talks about the picture form of Wang Meng Chong Shan Fu Ling, which shows the aesthetic features of "Cang thick" of Jiangnan Mountain and Water, and the aesthetic features of "complex pen" technique. And the formation of such a "Canghou" style of origin and Wang Meng formed his own style of three periods of evolution and influence on later generations to study.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212
【相似文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前3條
1 陳維立;淺析王蒙繁體山水的蒼厚之美[D];山東藝術(shù)學(xué)院;2017年
2 李倩;文學(xué)批評(píng)視野下的王蒙小說[D];山西大學(xué);2017年
3 何挺;通過《葛稚川移居圖》看王蒙的取舍觀[D];上海師范大學(xué);2017年
，本文編號(hào)：2402945
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