山水文化與太行情結(jié)—太行主題山水畫研究
發(fā)布時間：2019-01-15 06:52
【摘要】：太行山地處中原地區(qū),其地勢地貌以敦厚與婉約并稱,其作為北方大山的代表集眾山之靈蘊(yùn),且歷史文化積淀深厚。自古以來為爭奪中原,據(jù)守太行為重要戰(zhàn)略要策,所以太行以“民族脊梁”著稱,太行山由自然山水文化逐漸演變成一種太行的山水文化。對于歷代文人、畫家來說,太行山獨(dú)特的地貌特征與深厚的文化積淀吸引著他們放下塵事,慢慢享受山林之美妙來修身養(yǎng)性,這一現(xiàn)象逐漸使得太行的山林隱逸文化形成。畫家、文人對太行的眷戀引起的創(chuàng)作欲,表現(xiàn)在山水畫語言構(gòu)成方面,自五代荊浩及其繼任者伊始,以為太行造像的全景式構(gòu)圖和較為渾厚的筆墨語言來彰顯太行宏大之勢,而至南宋四家取邊角之景的山水程式來表現(xiàn)對祖國山河破裂的傷痛,逐漸將太行等北方山水圖式發(fā)展成一種簡約的筆墨構(gòu)成方式。后來的元明清時期除卻政治原因,繪畫上幾乎再無涉獵,偶然出現(xiàn)的北方山體作品也僅為抒寫胸臆為主,山石山體的勾勒既南既北。直至發(fā)展到近現(xiàn)代,太行等北方山體再一次被重拾于山水畫壇,以魏紫熙為首的在太行扎根,刻寫太行之根,至后來賈又福、呂云所等人為太行立碑、傳千古浩氣來形容筆下太行,將太行山水畫進(jìn)一步推向現(xiàn)代山水畫壇。近年來逐漸衍生出的畫家太行情結(jié)與“太行現(xiàn)象”,呼喚著新一代畫家重新以獨(dú)特的精神與視覺認(rèn)知來對太行山水語言再探索,回歸南宋對山水的打破重組,采用物象的搬移、填充等方式來重新構(gòu)成畫面,并根據(jù)自然色與外在光源的渲染之色施以至畫面中做太行之“顏”,最終求得畫面中的太行山成為畫者借景抒情、以景達(dá)意的理想勝境,為祖國山河立傳,讓觀者能感受到大的山水文化背景下太行山的意韻構(gòu)成,從而創(chuàng)作出無愧于時代的新太行山水。
[Abstract]:The Taihang Mountain is located in the Central Plains, and its topography is called Dunhou and graceful. As the representative of the northern mountains, it gathers the spirit of the mountains, and its historical and cultural accumulation is profound. Since ancient times, in order to compete for the Central Plains, Taihang is famous for its "national backbone", and Taihang Mountain gradually evolved from natural landscape culture to a Taihang landscape culture. For the literati and painters of the past dynasties, the unique geomorphological features and deep cultural accumulation of Taihang Mountain attracted them to put down the dust and slowly enjoy the beauty of the mountain and forest to cultivate themselves. This phenomenon gradually made Taihang's mountain and forest seclusion culture form. The desire of the painters and literati for the creation of Taihang is manifested in the composition of landscape painting language. From the beginning of the five dynasties Jing Hao and his successor, he thought that the panoramic composition of Taihang's statues and the more profound brush and ink language showed the grand trend of Taihang. To the south of the Song Dynasty, the landscape pattern of the four families took the edge of the corner to express the pain of the rupture of the mountains and rivers of the motherland, and gradually developed the northern landscape schema such as Taihang into a simple style of composition of pen and ink. In the Yuan, Ming and Qing dynasties, except for political reasons, there was almost no dabbling in painting. Until the modern and modern times, the northern mountains such as Taihang were once again picked up in the landscape painting world. Wei Zixi, led by Wei Zixi, took root in Taihang, engraved the roots of Taihang, and later put up a monument for Taihang, such as Jia Youfu, Lv Yunsuo, and so on. To describe Taihang, Taihang landscape painting further to the modern landscape painting world. In recent years, the painters' love complex of Taihang and "the phenomenon of Taihang" have been gradually derived, which calls for a new generation of painters to re-explore the Taihang Mountain and Water language with their unique spirit and visual cognition, and return to the Southern Song Dynasty to break and reorganize the landscape and adopt the moving of objects. Fill and other ways to reconstitute the picture, and according to the natural color and the external light source rendering color to the picture to do the "Yan", the final picture of the Taihang Mountain to become a scene to express their feelings, with the ideal landscape of the scenery, For the motherland mountain river, let the viewer can feel the Taihang mountain under the big landscape culture background, thus creates the new Taihang mountain water worthy of the times.
【學(xué)位授予單位】：渤海大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
本文編號：2408945
[Abstract]:The Taihang Mountain is located in the Central Plains, and its topography is called Dunhou and graceful. As the representative of the northern mountains, it gathers the spirit of the mountains, and its historical and cultural accumulation is profound. Since ancient times, in order to compete for the Central Plains, Taihang is famous for its "national backbone", and Taihang Mountain gradually evolved from natural landscape culture to a Taihang landscape culture. For the literati and painters of the past dynasties, the unique geomorphological features and deep cultural accumulation of Taihang Mountain attracted them to put down the dust and slowly enjoy the beauty of the mountain and forest to cultivate themselves. This phenomenon gradually made Taihang's mountain and forest seclusion culture form. The desire of the painters and literati for the creation of Taihang is manifested in the composition of landscape painting language. From the beginning of the five dynasties Jing Hao and his successor, he thought that the panoramic composition of Taihang's statues and the more profound brush and ink language showed the grand trend of Taihang. To the south of the Song Dynasty, the landscape pattern of the four families took the edge of the corner to express the pain of the rupture of the mountains and rivers of the motherland, and gradually developed the northern landscape schema such as Taihang into a simple style of composition of pen and ink. In the Yuan, Ming and Qing dynasties, except for political reasons, there was almost no dabbling in painting. Until the modern and modern times, the northern mountains such as Taihang were once again picked up in the landscape painting world. Wei Zixi, led by Wei Zixi, took root in Taihang, engraved the roots of Taihang, and later put up a monument for Taihang, such as Jia Youfu, Lv Yunsuo, and so on. To describe Taihang, Taihang landscape painting further to the modern landscape painting world. In recent years, the painters' love complex of Taihang and "the phenomenon of Taihang" have been gradually derived, which calls for a new generation of painters to re-explore the Taihang Mountain and Water language with their unique spirit and visual cognition, and return to the Southern Song Dynasty to break and reorganize the landscape and adopt the moving of objects. Fill and other ways to reconstitute the picture, and according to the natural color and the external light source rendering color to the picture to do the "Yan", the final picture of the Taihang Mountain to become a scene to express their feelings, with the ideal landscape of the scenery, For the motherland mountain river, let the viewer can feel the Taihang mountain under the big landscape culture background, thus creates the new Taihang mountain water worthy of the times.
【學(xué)位授予單位】：渤海大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
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