神遇与迹化—中国画的笔墨程式研究

发布时间：2018-02-01 18:59

本文关键词： 神遇迹化中国画笔墨程式　出处：《上海大学》2016年博士论文　论文类型：学位论文

【摘要】：本文以传统中国画“笔墨程式”的生发历程为主要研究内容,分析其在各时期不同的成因、特征及作用,阐释其独特的观物、造形方式及审美倾向。意在厘清“笔墨程式”这一传统原有的面貌及蕴含的“生长性”特质,对专业界曾有的认知误区做出客观分析,亦为我们的习画之路扫清障碍。文章前三章为“笔墨程式”由萌芽、生发到成熟的历程。究其成因,有绘画本体发展的需求,亦有中国传统哲思、文化艺术对之的影响。其中时空合一、主客圆融的观物方式和态度的演变,一直贯穿并推动依赖客观自然为基点的空间性“造形程式”转向以主观阐释为基点的时间性“笔墨程式”。其作用由解决主客矛盾的“工具”发展为绘画重要的“目的”,使笔墨的独立审美价值逐渐彰显。对其的认知亦经历了由具体之“法”上升至抽象之“理”的漫长深化,这其中石涛“神遇”与“迹化”的观物方式和物化过程,可视为笔墨程式创生与发展的先决条件和最有效的方式。第四章在这一思路的基础上,分析成熟的“笔墨程式”在近现代遭遇的矛盾和冲击,“成也程式,败也程式”,除去新时期艺术原则转变的原因外,更重要的是传统时空模式的变异,使得人们对笔墨程式的时间和空间特质的认知出现不可避免的割裂或抽离。第五章“瑕不掩瑜”之程式及当下意义:指出西方艺术中亦有与中国传统异曲同工的时空之思、物我之辨,进而探究传统时空观在当下的整合性及优势,复归笔墨程式在新的语境下应有的认知,并通过“临摹”以期在绘画实践中继承其生生不息的创生机制。纵观历史,笔墨程式是中国画极为重要的表达特征,即使在中西方文化冲撞最剧烈时,在坚守者的努力下亦有逆流的长势,但学界长期以来对此缺少重视和研究。因此,在传统略有复兴迹象的当下,立足本土文化,对笔墨程式做完整的认知和解读就显得十分必要,这也是笔者写作此文的缘由和意义。
[Abstract]:In this paper, the development of traditional Chinese painting "stroke and ink formula" as the main research content, analysis of its different causes in each period, characteristics and functions, to explain its unique view. The purpose of this paper is to clarify the original appearance of the traditional "stroke and ink formula" and its "growth" characteristic, and to make an objective analysis of the cognitive misunderstanding in the professional field. The first three chapters of the article are the process from the bud, the birth to the maturity. The reasons are the need of the development of painting ontology, but also the traditional Chinese philosophy. The influence of culture and art on it, including the unity of time and space, the evolution of the way of viewing things and attitudes of the subject and object. It has been running through and promoting the spatial "formative formula" which relies on the objective nature as the basis point to the temporal "stroke and ink formula" with subjective interpretation as the basis point. Its role is from the "tool" to solve the contradiction between the subject and the object. The development of painting as an important "purpose". Make the independent aesthetic value of pen and ink gradually manifest. The cognition of it has also experienced a long deepening from concrete "law" to abstract "principle". Among them, Shi Tao's way of viewing objects and the process of materialization can be regarded as the prerequisite and most effective way for the creation and development of ink and pen program. Chapter 4th is based on this idea. This paper analyzes the contradictions and impacts experienced by the mature "pen and ink formula" in modern times. Besides the reasons for the change of artistic principles in the new period, it is more important to change the traditional space-time model. It makes people's cognition of the temporal and spatial characteristics of ink and pen unavoidably split or separated. Chapter 5th, "not to hide the flaws", and its current significance:. It is pointed out that there is also the thought of time and space in western art, which is different from Chinese tradition. In order to explore the integration and advantages of the traditional view of time and space in the present, we can find out the cognition of the reversion formula in the new context. And through "copy" in order to inherit its endless creation mechanism in the practice of painting. Throughout history, ink and pen is an extremely important expression of Chinese painting, even in the most violent collision between Chinese and Western cultures. In the efforts of adherents there is also a trend of counter-current, but the academic community for a long time to this lack of attention and research. Therefore, in the traditional signs of a slight renaissance in the present, based on local culture. It is necessary to make a complete understanding and interpretation of the ink and pen program, which is the reason and significance of the author's writing.
【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J212

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