【摘要】：20世紀是一個東西方藝術(shù)碰撞、交融、互補，充滿艱苦求索和新舊更替的特殊時期。這個時期的中國藝術(shù)面臨著巨大的考驗。中國畫只有通過變革創(chuàng)新，才會產(chǎn)生新的生命力，否則就只能被淘汰。全盤承傳古人之跡，或是用西方繪畫來引導(dǎo)中國藝術(shù)顯然都是不可取的，黃賓虹、張大千作為這一時期中國畫變革的領(lǐng)軍人物和杰出代表，對于中國畫的走向問題，不約而同的采取了立足傳統(tǒng)的自覺態(tài)度。對近現(xiàn)代中國山水畫的發(fā)展有著重要影響。 本文擬分為三大部分，，比較體味兩位大師在美學(xué)思想、創(chuàng)作手法、審美形態(tài)方面的異同。雖然同為優(yōu)秀的中國畫大家，二者擁有傳移模寫、讀萬卷書、外師造化，中得心源等共通的繪畫美學(xué)基本觀念。但由于對待傳統(tǒng)和西方的不同學(xué)習(xí)、接納的方式，從而產(chǎn)生了不同的審美理想。黃賓虹的尚雅尚文形成了五筆七墨的創(chuàng)作手法，張大千的求博求精催生了潑彩的特殊表現(xiàn)手段。產(chǎn)生了不同的形態(tài)特征，豐富了近代美術(shù)史中國畫發(fā)展的多樣性。 然而中國畫學(xué)術(shù)界歷來有視文人畫為正宗的傳統(tǒng)，近代中國山水畫研究和創(chuàng)作也不乏尊黃抑張的偏頗。本文的對比分析，是在前人研究的基礎(chǔ)上。對兩位大師的繪畫美學(xué)進行分析論述，有助于更加深入認識二者的藝術(shù)思想，藝術(shù)成就，對中國畫特別是山水畫的“時代性”發(fā)展，具有特殊意義。對于認識20世紀中國畫，尤其是理解中國山水畫的發(fā)展變化，具有特殊的意義。
[Abstract]:The 20th century is a special period in which East and West art collides, blends, complements, and is full of painstaking search and replacement of the old and the new. The Chinese art of this period is facing a great test. Chinese painting can produce new vitality only through reform and innovation, otherwise it can only be eliminated. It is obviously not advisable to pass on the trace of the ancients in an all-round way, or to use western painting to guide Chinese art. Huang Binhong and Zhang Daqian, as leaders and outstanding representatives of the reform of Chinese painting in this period, are of great concern about the direction of Chinese painting. In the same way, we adopt a self-conscious attitude based on tradition. It has an important influence on the development of modern Chinese landscape painting. This paper is divided into three parts, comparing the similarities and differences between the two masters in aesthetic thoughts, creative techniques and aesthetic forms. Although they are both excellent Chinese paintings, they have the common basic concepts of painting aesthetics, such as imitating, reading thousands of volumes, creating the outside master, and getting the heart of the heart, and so on. However, different aesthetic ideals came into being because of the different ways of learning and acceptance between tradition and the West. Huang Binhong's Shangya text formed five strokes and seven inks of creation, Zhang Daqian's search for excellence gave birth to a special means of expression. It has produced different morphological characteristics and enriched the diversity of the development of Chinese painting in the history of modern art. However, the academic circle of Chinese painting has a tradition of treating literati painting as authentic, and the research and creation of modern Chinese landscape painting are biased with respect to Huang Yichang. The contrastive analysis of this paper is based on the previous research. The analysis and discussion of the painting aesthetics of the two masters is helpful to further understand their artistic thoughts and artistic achievements, and has special significance for the development of the "times" of Chinese painting, especially the landscape painting. It is of special significance to understand Chinese painting in the 20th century, especially to understand the development and change of Chinese landscape painting.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

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