青绿山水画与水墨山水画比较研究

发布时间：2018-05-22 11:44

本文选题：青绿山水 + 水墨山水　；参考：《陕西师范大学》2014年硕士论文

【摘要】：古人称绘画为“丹青”,早期的中国画是以“色彩”为主的,山水画也是如此。中国现存最早的一幅山水画是隋代展子虔的青绿山水《游春图》。青绿山水画在唐宋时期一直占主导地位,而宋元之后,由于文人画的兴起,倡导写意的水墨山水画逐渐成为中国画的主流。水墨山水画从唐代王维开始,到宋元发展壮大。尤其是明代后期董其昌倡导“南北宗”论,崇南贬北,成为以后三百年来画坛的主要面貌。伴随着水墨山水的发展壮大,青绿山水不断的被忽视与冷落。乃至清代“色彩”被下放到民间,青绿山水时隐时现几乎被淹没,水墨山水却半抽象的程式化为特殊的语言。哲学基础的不同造就了青绿山水画与水墨山水画的差异。青绿山水画的哲学基础主要是是传统的五色理论、儒家思想和佛教的有宗,这一理论体系是“有色系”,它决定了青绿山水画重彩的面貌和富有装饰性的审美特征；水墨山水画的哲学基础主要是老庄的道家思想、玄学和禅学,这一理论体系是“无色系”,它决定了水墨山水画重视黑白、虚实崇尚简淡空灵的美学意境。文人对绘画的介入使得山水画的审美倾向发生转变。文人画家在绘画上倡导“以书入画”,追求笔墨趣味、写意抒情、不重形似、崇尚“逸格”,轻视色彩等,在绘画之外讲究人品、学问、才情等使得绘画文学化,水墨山水画渐成主流,而青绿山水画则遭受冷落,以小青绿的形式被少数的画家继承下来。如果说在传统中国文化认同趋一的环境之下中国画长期以来形成以笔墨为中心的审美价值体系是使青绿山水受到冷落的根本原因,那么进入二十世纪以来尤其是八十年代以后,随着中国社会政治、经济、文化形态以及人的生存环境、审美观念发生的巨大变化。传统单一的审美样式已不复存在,而现代山水画在形式、内容、技法方面的革新与探求,打破了传统水墨山水独尊的局面使其呈现出多元化发展的态势。
[Abstract]:The ancients called painting "Danqing", early Chinese painting is mainly "color", landscape painting is the same. The earliest extant landscape painting in China is the Green Mountain and Water Exhibition in the Sui Dynasty. Green landscape painting in the Tang and Song dynasties has been the dominant position, and after the Song and Yuan dynasties, because of the rise of literati painting, advocating freehand brushwork landscape painting gradually become the mainstream of Chinese painting. Ink landscape painting from Tang Dynasty Wang Wei, to the Song and Yuan dynasties development. Especially in the late Ming Dynasty, Dong Qichang advocated the theory of "North and South sect" and worshipped the south and demoted the north, which became the main feature of the painting world in the following 300 years. With the development of ink landscape, green landscape has been neglected and neglected. Even in the Qing Dynasty, "color" was transferred to the folk, and the green landscape was almost submerged, while the ink landscape was formulated as a special language. The difference of philosophy foundation makes the difference between green landscape painting and ink landscape painting. The philosophical basis of green landscape painting is mainly the traditional theory of five colors, Confucianism and Buddhism, this theoretical system is a "color system", it determines the green landscape painting color features and decorative aesthetic characteristics; The philosophical basis of ink painting is Taoism, metaphysics and Zen. The theoretical system is "no color system", which determines the aesthetic conception of "black and white" and "empty and empty" in ink landscape painting. The literati's involvement in painting changes the aesthetic tendency of landscape painting. Literati painters advocate "drawing with books" in painting, pursue brushwork and ink interest, express feelings in freehand brushwork, do not emphasize likeness, advocate "ease", despise color and so on. Besides painting, they pay attention to character, knowledge, talent and so on, which make painting literary. Ink landscape painting gradually became mainstream, while green landscape painting was neglected and inherited by a few painters in the form of small green. If the traditional Chinese painting has long formed an aesthetic value system centered on pen and ink under the background of traditional Chinese cultural identity, it is the fundamental reason why the green landscape has been left out, especially since the 1980s. With the great changes of Chinese social politics, economy, culture and human's living environment, aesthetic concept has taken place. The traditional single aesthetic style has ceased to exist, and the modern landscape painting in the form, content, techniques of innovation and exploration, breaking the traditional landscape unique situation so that it presents a diversified development situation.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

【参考文献】