元代山水畫點景人物研究
發(fā)布時間：2019-03-24 17:37
【摘要】：在山水畫中,點景人物猶如作文之點題,一幅山水畫的主題全從點景人物做起。雖然點景人物在山水畫中的比重微小、形體勾勒簡單,看似是畫家隨手勾勒而出,卻是山水畫中最主要的構(gòu)成要素之一。因此,我們在創(chuàng)作和審視一幅山水畫時,決不可予以輕視。 文章首先給出了點景人物的定義以及在題材、筆法、圖式形態(tài)上的劃分,點景人物伴隨著中國傳統(tǒng)山水畫的發(fā)展而變化著,由早期隋唐的描繪貴族游春,到五代、兩宋表現(xiàn)現(xiàn)實生活場景,再到元代畫家在畫面中的自我植入。中國傳統(tǒng)隱逸性山水畫主要受到老、莊思想的影響,在元代山水畫中點景人物為了能夠更好的服務(wù)于隱逸性主題,在人物的身份上演變?yōu)槲娜�、逸士；在意境的追求上演進為自我精神的表達,轉(zhuǎn)變了隋唐、五代、兩宋時期的貴族、平民形象,也不再關(guān)注現(xiàn)實的生活場景。在元代的隱逸性題材的山水畫中主要分為山居、待渡、漁隱、行隱四類。在畫面中畫家為了表現(xiàn)畫面的隱逸性主題,在點景人物的刻畫上做了簡約性的處理,包括點景人數(shù)由群組趨向單體、面部五官進一步弱化處理、動態(tài)服飾更加概括簡略。影響其簡約性刻畫的原因主要是疏于人事不重表現(xiàn)、畫面尺寸制約用筆造型、與山水整體筆墨一致三個方面。在元代山水畫巨大的影響之下,明清以及近現(xiàn)代山水畫點景人物也受到其簡約性刻畫的影響。本文的創(chuàng)新點在于對元代山水畫點景人物進行了梳理分類,比較分析了元代山水畫點景人物簡約性的具體繪畫表現(xiàn),并對其背后的主客觀原因進行了探索。
[Abstract]:In landscape painting, picturesque characters are like the topic of composition, and the theme of a landscape painting starts with the picturesque characters. Although the proportion of landscape characters in landscape painting is small and the figure is simple, it seems that the painter sketches out with his hand, but it is one of the most important elements in landscape painting. Therefore, when we create and examine a landscape painting, we must not despise it. The article first gives the definition of the picturesque characters and the division in the subject matter, writing method and schema form. The pictorial characters are changing with the development of the traditional Chinese landscape painting, from the early Sui and Tang dynasties' depiction of aristocrats to the five dynasties. Two Song Dynasty performance real life scene, then to Yuan Dynasty painter in the picture self-implantation. The traditional Chinese hermit landscape painting is mainly influenced by the thought of the old and Zhuang. In the Yuan Dynasty landscape painting, in order to better serve the hermit theme, the Chinese traditional hermit landscape painting is staged into a literati and an escape in the identity of the characters. In the pursuit of artistic conception into the expression of self-spirit, the Sui and Tang dynasties, five dynasties, two Song Dynasty aristocrats, the image of the common people, and no longer pay attention to the reality of the scene of life. In Yuan Dynasty, the hermit theme of landscape painting is divided into four categories: mountain dwelling, waiting to be crossed, fishing hidden, walking hidden. In order to show the hidden theme of the picture, the painter has done a simple treatment on the depiction of the picturesque characters, including the number of the picturesque people moving from the group to the individual, the further weakening of the facial features and the further weakening of the facial features, and the dynamic dress is more general and brief. The main reason influencing its simplicity is that it is neglected to display, and the size of the picture is restricted by pen modeling, which is consistent with the whole painting and ink of the mountains and rivers. Under the great influence of Yuan Dynasty landscape painting, the picturesque characters of Ming and Qing dynasties and modern landscape painting were also influenced by its simplicity. The innovation of this paper is to sort out and classify the landscape characters of Yuan Dynasty landscape painting, compare and analyze the concrete painting performance of the simple characters of Yuan Dynasty landscape painting, and explore the subjective and objective reasons behind it.
【學(xué)位授予單位】：山東理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
本文編號：2446539
[Abstract]:In landscape painting, picturesque characters are like the topic of composition, and the theme of a landscape painting starts with the picturesque characters. Although the proportion of landscape characters in landscape painting is small and the figure is simple, it seems that the painter sketches out with his hand, but it is one of the most important elements in landscape painting. Therefore, when we create and examine a landscape painting, we must not despise it. The article first gives the definition of the picturesque characters and the division in the subject matter, writing method and schema form. The pictorial characters are changing with the development of the traditional Chinese landscape painting, from the early Sui and Tang dynasties' depiction of aristocrats to the five dynasties. Two Song Dynasty performance real life scene, then to Yuan Dynasty painter in the picture self-implantation. The traditional Chinese hermit landscape painting is mainly influenced by the thought of the old and Zhuang. In the Yuan Dynasty landscape painting, in order to better serve the hermit theme, the Chinese traditional hermit landscape painting is staged into a literati and an escape in the identity of the characters. In the pursuit of artistic conception into the expression of self-spirit, the Sui and Tang dynasties, five dynasties, two Song Dynasty aristocrats, the image of the common people, and no longer pay attention to the reality of the scene of life. In Yuan Dynasty, the hermit theme of landscape painting is divided into four categories: mountain dwelling, waiting to be crossed, fishing hidden, walking hidden. In order to show the hidden theme of the picture, the painter has done a simple treatment on the depiction of the picturesque characters, including the number of the picturesque people moving from the group to the individual, the further weakening of the facial features and the further weakening of the facial features, and the dynamic dress is more general and brief. The main reason influencing its simplicity is that it is neglected to display, and the size of the picture is restricted by pen modeling, which is consistent with the whole painting and ink of the mountains and rivers. Under the great influence of Yuan Dynasty landscape painting, the picturesque characters of Ming and Qing dynasties and modern landscape painting were also influenced by its simplicity. The innovation of this paper is to sort out and classify the landscape characters of Yuan Dynasty landscape painting, compare and analyze the concrete painting performance of the simple characters of Yuan Dynasty landscape painting, and explore the subjective and objective reasons behind it.
【學(xué)位授予單位】：山東理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
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