【摘要】：冰雪世界，潔白冷逸，寂靜空靈，它給我們帶來(lái)美的享受。 傳統(tǒng)雪景山水畫(huà)因其獨(dú)特的面貌和韻味，自古以來(lái)就受到畫(huà)家們的青睞。從歷代畫(huà)論對(duì)雪景山水的描述來(lái)看，在東晉最早出現(xiàn)，興盛于唐宋，在明清繼承與發(fā)展。雪景畫(huà)經(jīng)過(guò)漫長(zhǎng)的發(fā)展過(guò)程中在繪畫(huà)技法上和畫(huà)面的表現(xiàn)風(fēng)格等方面都有了很大地完善。到了五代，，描述雪景畫(huà)靜態(tài)和動(dòng)態(tài)的所有技法已全部出現(xiàn)，而以后的作品，也都只是在畫(huà)面的表現(xiàn)內(nèi)容、形式和表現(xiàn)意境方面上的豐富和完善。無(wú)疑古代雪景山水畫(huà)給我們留下了寶貴的資源，但是表現(xiàn)西北邊疆的大雪和冰在古代的畫(huà)面是沒(méi)有的，這為新疆冰雪題材山水畫(huà)的發(fā)展留下了很大的發(fā)展空間。 雪景山水畫(huà)作為山水畫(huà)的一個(gè)重要題材，從古至今人們只是把描寫(xiě)雪景的山水畫(huà)稱為雪景山水畫(huà)，它還未形成一個(gè)明確的概念，二十世紀(jì)中葉以后，用礬做調(diào)劑的冰雪山水畫(huà)新樣式開(kāi)始出現(xiàn)，冰和雪的繪畫(huà)方法開(kāi)始走向一個(gè)新的階段。從此，一種新的表現(xiàn)冰雪山水的方式開(kāi)始興起，這種新的技法逐漸被畫(huà)家們接受。在地處祖國(guó)的大西北新疆，畫(huà)家們也早已把礬墨法、牛奶法（用牛奶和墨調(diào)和的）、水拓法等技法運(yùn)用到冰雪題材山水畫(huà)中。 新疆地處祖國(guó)西北，有著獨(dú)特的自然環(huán)境和氣候條件。新疆冬季寒冷時(shí)間漫長(zhǎng)，降雪頻繁豐厚，雪大、雪厚，為冰雪山水畫(huà)的發(fā)展創(chuàng)造了豐富的資源。冰川、雪山、霧凇等地貌使新疆的雪景峻美而神奇。新疆冰雪題材山水畫(huà)注重用筆墨語(yǔ)言來(lái)表現(xiàn)雪后生機(jī)勃勃的畫(huà)面。新疆山水畫(huà)可以說(shuō)是伴隨著新中國(guó)的誕生而成長(zhǎng)發(fā)展起來(lái)的，建國(guó)后幾十年的發(fā)展探索，許多致力于發(fā)展新疆山水畫(huà)的畫(huà)家，不斷寫(xiě)生考察，創(chuàng)作了大量反映新疆山水風(fēng)情的作品，并在思想創(chuàng)新、理論探索和實(shí)踐方面取得了較大的成就。所以說(shuō)，新疆山水畫(huà)應(yīng)該擁有自己的獨(dú)立性語(yǔ)言。因此通過(guò)對(duì)新疆冰雪山水畫(huà)借鑒傳統(tǒng)和創(chuàng)新兩方面的分析，探討新疆冰雪山水畫(huà)的藝術(shù)風(fēng)格及發(fā)展空間。 本文以傳統(tǒng)雪景山水畫(huà)的發(fā)展及藝術(shù)風(fēng)格為背景，試圖歸納新疆冰雪山水畫(huà)的發(fā)展道路及畫(huà)家的藝術(shù)風(fēng)格，再進(jìn)一步介紹傳統(tǒng)雪景畫(huà)與新疆冰雪山水畫(huà)的師承、章法、筆墨等關(guān)系的傳承與發(fā)展，從而為傳統(tǒng)雪景山水畫(huà)與新疆題材山水畫(huà)研究提供相關(guān)借鑒。 筆者將新疆冰雪題材山水畫(huà)作為課題，是由于我在新疆讀研，是我對(duì)所處生活空間的關(guān)注與感動(dòng)。因此，我通過(guò)新疆山水畫(huà)的演進(jìn)過(guò)程，分析其發(fā)展過(guò)程中應(yīng)繼承、發(fā)展與創(chuàng)新之處。
[Abstract]:Ice and snow world, white and cold, quiet and empty, it brings us the enjoyment of beauty. Traditional snow landscape painting has been favored by painters since ancient times because of its unique appearance and charm. According to the description of snow scenery in the painting theory of the past dynasties, it first appeared in the Eastern Jin Dynasty, flourished in the Tang and Song dynasties, and inherited and developed in the Ming and Qing dynasties. Snowscape painting after a long process of development in painting techniques and painting performance style has been greatly improved. By the five dynasties, all the techniques describing the static and dynamic snowscape painting had appeared, and the later works were only rich and perfect in the aspects of the performance content, the form and the artistic conception of the picture. There is no doubt that the ancient snow landscape painting left us precious resources, but there is no snow and ice in the northwest frontier, which leaves a great space for the development of snow and ice landscape painting in Xinjiang. Snow landscape painting is an important subject of landscape painting. From ancient times, people only refer to the landscape painting of snow scenery as snow landscape painting. It has not formed a clear concept. After the middle of the twentieth century, A new style of ice and snow landscape painting with alum as adjuster began to appear, and the painting method of ice and snow began to move to a new stage. Since then, a new way to express the ice and snow landscape began to rise, this new technique was gradually accepted by painters. In Northwest Xinjiang, where the motherland is located, painters have already applied the techniques of alum ink, milk (mixed with milk and ink) and water extension to the ice and snow subject landscape painting. Xinjiang is located in the northwest of the motherland, with a unique natural environment and climate conditions. Xinjiang winter cold time is long, the snow frequent rich, the snow is big, the snow is thick, has created the rich resources for the ice and snow landscape painting development. Glaciers, snow mountains, rime and other landforms make Xinjiang's snow-sharp beauty and magic. Xinjiang ice-snow theme landscape painting pay attention to the use of pen and ink language to express the vibrant picture after snow. Xinjiang landscape painting can be said to have grown and developed with the birth of New China. In the decades since the founding of the people's Republic of China, many painters dedicated to the development of Xinjiang landscape painting have been constantly working on sketching. He has created a large number of works reflecting the landscape customs of Xinjiang, and has made great achievements in ideological innovation, theoretical exploration and practice. Therefore, Xinjiang landscape painting should have its own independent language. Therefore, through the analysis of the traditional and innovative aspects of Xinjiang ice and snow landscape painting, this paper discusses the artistic style and development space of Xinjiang ice and snow landscape painting. Taking the development and artistic style of traditional snow landscape painting as the background, this paper tries to sum up the development road of snow and ice landscape painting in Xinjiang and the artistic style of the painter, and further introduces the traditional snow landscape painting and Xinjiang ice and snow landscape painting. The inheritance and development of the relationship between brush and ink can provide reference for the study of traditional snow landscape painting and Xinjiang subject matter landscape painting. The author takes the subject of Xinjiang ice and snow landscape painting as a subject, because I studied in Xinjiang, which is my concern and emotion to the living space. Therefore, through the evolution of Xinjiang landscape painting, I analyze the inheritance, development and innovation in its development process.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J212

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本文編號(hào)：2417028