黄宾虹思想及其绘画美学演进之研究

发布时间：2018-03-17 01:03

本文选题：黄宾虹　切入点：古文经学　出处：《中国社会科学院研究生院》2003年博士论文　论文类型：学位论文

【摘要】： 在中国近现代社会、经济、文化结构变化过程中，黄宾虹在继承国粹思想的基础上探索新意境，创造了独特的“浑厚华滋”新艺术境界，本文对此作了具体考察。全文由绪论，正文和结论组成，其中正文包括三个章节。绪论简述研究的目的、意义，简要勾画论文的基本结构。第一章探讨黄宾虹与国粹思想的关系。鸦片战争以后，随着社会经济的变化，一些人士继承“经世致用”的传统，提倡改革，以达到强国的目的。他们的思想和主张，基本都在经学的羁绊下展开。以康有为为首的维新派鉴于中国的历史与封建统治腐朽的现实，提出在今文经学的基础上进行变法图强，因而具有进步的意义。但维新变法运动失败后，康有为逐渐走向反面。章太炎和康有为分裂，从改良转向了革命。在学术研究方面，他继承古文经学家的治学方法，形成了以保存国学、发扬国粹为主的国粹革命思想。黄宾虹在中国历史、社会、文化转换的过程中，思想方面具有先进性，为了拯救民族危机他参加了维新变法运动。尽管康有为变成保守势力，黄宾虹则与章太炎同步，形成国粹思想。其形成基础可分二。其一，传统学问的基础较深厚。黄宾虹在富裕和充满文化氛围中，受到良好的传统教育，有扎实的传统学问基础。其二，黄宾虹在形成国粹革命思想的前一阶段，接受维新思想。但并没有停留在改良主义立场，而是能继续追随进步潮流，加入到民主共和制的革命派中去。黄宾虹国粹思想的实践，其特点有四。其一，继承古文经学的治学方法，推崇黄宗羲、组织黄社，钻研金石学，表彰守节的遗民意识。其二，以学术为主，鼓吹革命。编辑国粹学报、真相画报等期刊，，参加南社、艺观学会等组织。其三，从国粹思想的继续发扬上理解君学民学，带有朦胧的民主意识。其四，吸收西方文化的态度，涉及国际学术界对中国绘画的关注的部分，带来了黄宾虹绘画思想的深化和晚年艺术境界的扩大。第二章题为黄宾虹与绘画美学思想。中国传统哲学思想的天人合一思维方式追求，人可以从任何自然物或人本身出发，达到与宇宙整体沟通、一体化，从而在精神上达到把握无限与永恒。意境论能使艺术家在精神上超越自由的障碍。到清末民初，中国山水画家中开始批评“四王”流风，这是试图实现艺术的创造美的一种表现。近现代传统派与改革派画家，都从包世臣的《艺舟双楫》和康有为的《广艺舟双楫》发端，对“四王”山水画进行批评。包世臣根据中国古代艺术的天人合一思想，要超越南宗文人画偏重对“入柔靡”意境追求，恢复与自然一体的无限感、永恒感，实现艺术本质的创造美。为了纠正“入柔靡”的弱点，他从传统中发掘包世臣的《艺舟双揖》，金石篆刻和碑学之用笔，并将它引入山水画，创造了“浑厚华滋民族精神”，以绘画艺术救亡图存、振奋民族意识。他在继承中国传统文艺理论“文以载道”的基础上，还接受了近代文艺界的为人生的艺术和现代中国的“文艺为政治服务”主张。第三章探讨黄宾虹绘画实践与山水画的分期。黄宾虹在金石学的基础上，主张书画同源，把传统笔墨行、草、篆、隶等书法用笔，总结为“五笔”(平、留、圆、重、变)，“七墨”(浓、淡、破、积、泼、焦、宿)。从笔墨的功夫为基础进行写生观察，形成“打点作效” 的画法，从而表现与宇宙一体的感受来实践了黑、密、厚、重的浑厚华滋风格。对黄宾虹山水画作品进行分期。分为三。其一，师古人时期，黄宾虹的画主要学新安画派，构成早期疏淡清逸的山水画风格。其二，师造化时期，通过桂粤写生、蜀游转向独创期。在笔法的基础上，较注重用墨法。其三，在师古人、师造化的基础上，创造了“浑厚华滋” 的艺术境界。他的笔法得力于金文大篆的用笔，刚中能柔，圆浑厚重，生辣稚拙，沉着刚健。他的墨法，达到了将各种墨法灵活交替运用的境界。他师法自然而又不受传统的束缚，他不顺延“四王”传统而从整体上反思传统、整合传统，在传统的基础上变革，赋予山水画以新意和新的视觉样式。他的绘画不仅保持和弘扬了中国画的特色以及中国笔墨的神奇，而且将二十世纪中国山水画的水平和品格提升到了一个新的高度。结论黄宾虹以国粹思想为基础展开其绘画美学，而得到传统的集大成和向现代转变的成就。
[Abstract]:China economy in modern society, culture, structure change process, based on inheriting the quintessence of Huang Binhong thought on exploring new artistic conception, created a unique "Wordsworth" new realm of art, this paper makes a concrete investigation. This paper consists of introduction, text and conclusion, the text includes three chapters.
The introduction gives a brief account of the purpose and significance of the study and briefly outlines the basic structure of the paper.
The first chapter discusses the relationship between Huang Binhong and the quintessence of Chinese culture. After the Opium War, with the change of society and economy, some people inherit "Statecraft" tradition, advocating reform, in order to achieve the purpose of power. Their thoughts and claims, basically in the classics of her. Kang Youwei LED to the reformists in view of history and feudal the reality of the corrupt rule Chinese, 1898 was put forward based on the study of Confucian classics, which has the meaning of progress. But the failure of the reform movement, Kang Youwei Zhang Taiyan and Kang Youwei gradually move toward the opposite. Split from improvement to the revolution. In academic research, he inherited the classical research methods of scientists, formed by the carry forward the quintessence of the quintessence of Chinese culture preservation Ancient Chinese Literature Search, revolutionary thought mainly.
Huang Binhong Chinese in history, society, culture in the conversion process, with advanced thought, in order to save the national crisis he took part in the reform movement. Although Kang Youwei became conservative forces, Huang Binhong and Zhang Taiyan formed the quintessence of Chinese culture. Simultaneously, the formation can be divided into two parts. Firstly, based on traditional learning more profound Huang Binhong. In the rich and full of cultural atmosphere, have good traditional education, traditional solid foundation of knowledge. Second, Huang Binhong in the previous stage to form the quintessence of revolutionary ideas, accept the thoughts of reform. But did not stay in a reformist, but continued to follow the tide of progress, joined the Democratic Republican Revolution to.
The practice of Huang Binhong's thought of the quintessence of Chinese culture, it has four characteristics. First, the inheritance of classical Chinese through the study method, the respected Huang Zongxi, Huang organization agency, study of epigraphy, recognition of chastity adherents consciousness. Secondly, with the academic, advocating revolution. The quintessence of editing journal, truth illustrated journals, in view of Art Society Nanshe. Organization. Third, from the quintessence of Chinese culture to continue to carry forward the understanding on the sovereign people, with a vague awareness of democracy. Fourth, the absorption of the western culture attitude, involved in international academic circles focus on Chinese painting part, brought Huang Binhong's painting thought of deepening and expanding. In the realm of Art
The topic of the second chapter is Huang Binhong's painting aesthetics. China pursuit of traditional philosophy of harmony between man and nature way of thinking, people can start from any natural or human itself, and achieve the whole universe of communication, integration, so as to grasp the infinite and eternal in spirit. The theory of artistic conception can make artists beyond obstacles of liberty in spirit. To the end of Qing Dynasty, China landscape painters began to criticize the "and" wind flow, which is trying to realize the creation of art is a manifestation of beauty.
The modern tradition of the reformers and the painter, from Bao Shichen's "Zhou Shuang Ji and Kang Youwei < > > extended double row start to criticize" and "landscape painting. Bao Shichen Chinese according to the ancient art of harmony thought, to go beyond Nan Zongwen
The human painting is biased towards the pursuit of "popular" artistic conception, the limitless sense of restoration and nature, the sense of eternity and the creation of the essence of art.
America. In order to correct the "softness" weakness, he discovered Bao Shichen's "Yi Zhou Shuang > from tradition, stone carving and calligraphy
With the pen, and put it into the landscape painting to create a "Wordsworth national spirit", the art of painting to salvation, inspiring people
The national consciousness. He inherits the China traditional literary theory "on the Writings are for conveying truth. also accepted the" modern literary circles for life
The art and modern Chinese "literature and art serve as a political service".
The third chapter discusses the stages of Huang Binhong's painting practice and landscape painting. Huang Binhong advocates calligraphy and painting on the basis of gold and stone science.
The source, the traditional pen and ink, grass, seal, etc. part of Chinese calligraphy, summed up as "Five" (flat, round, stay, weight, change), seven
"Ink" (strong, light, broken, product, splash, coke, night). From the Kung Fu of the pen and ink to carry out the sketch observation, forming the "play the effect"
The painting, which shows the feeling of the universe as a whole, has practiced the dark, dense, thick, heavy and thick Chinese style.
The stages of Huang Binhong's landscape paintings are divided into three. First, in the ancient times of the teachers, Huang Binhong's paintings mainly studied Xin'an painting.
A pie, early Shudan Seiitsu landscape painting style. Second, shizaohua period by Guangdong and Guangxi tourism to original sketch, Shu.
On the basis of the method of writing, the method of reusing the ink is compared with the method of reusing the ink.
The realm of art. His calligraphy inscriptions were able to use a pen, just in the soft, thick Yuanhun, unripe hot Zhizhuo, calm and energetic.
His method of ink has reached the level of alternately applying the various methods of ink.
He imitated natural and not bound by tradition, he is not extended "and" traditional and overall reflection of the traditional transmission, integration
On the basis of traditional transformation, the landscape painting was given new meaning and new visual style. His paintings were not only maintained and carried forward.
The features of Chinese painting and the magic of Chinese ink and ink have promoted the level and character of Chinese landscape painting in twentieth Century to one
New heights.
Conclusion Huang Binhong started his painting aesthetics on the basis of the ideology of the quintessence, and got the transformation from the traditional one to the modern.
Achievement.

【学位授予单位】：中国社会科学院研究生院
【学位级别】：博士
【学位授予年份】：2003
【分类号】：J201

【引证文献】