传统文人画品评对创作的影响研究

发布时间：2018-05-15 12:49

本文选题：传统文人画 + 品评　；参考：《南京艺术学院》2016年博士论文

【摘要】：文人画始于唐代,至宋代苏轼提出“士夫画”而发展,到明朝董其昌提出文人画而盛行,绘画的收藏、品评也在文人士大夫中蔚然成风。绘画的产生与发展离不开相应的理论的支撑,理论规导和支配着画家的绘画观念和探索,“文人画”的发展可谓是创作理论与当时画家的艺术实践相互影响或促动,在绘画创作的实践中文人画家逐渐形成了丰富的绘画观并逐渐建立了一套独特的品评理论体系。本文对文人画品评的理论进行了梳理,并对其成因展开了不同角度的文化分析。儒道释哲学思想对文人画家的思维方式、审美情趣及文人画的艺术构思等方面都有较深的影响;社会因素也是影响文人画品评理论的重要原因。文人画家追求“主、客同构”,把绘画作为表现主体情感的载体,寄寓笔墨以情感,在描绘客观世界的同时融入内心世界的表达,强调作品的神韵;文人画家群体的构成和集体意识的特殊性也是影响其品评理论的重要因素。文人画家多以画为余事,并且文人画家大都出身权贵,地位决定了他们掌握话语权,有着影响绘画发展方向的巨大力量,能够为绘画理论的践行推波助澜,他们对文人画理论的相互唱和会形成一种强势的集体意识。文人画品评对绘画的创作产生了深刻的影响,这种影响不仅体现在绘画的整个过程中,而且具体反映在画家对造形、笔墨、构图等方面的独特追求上。文人画以抒发性灵、彰显个性为旨归,不求形似、重神甚于重形,以逸笔抒写逸气,重在写意、力求表达意境。文人画家认为笔墨具有不依附于表现对象的独立的形式美,并能表达人的主观精神,因此具有独特的笔墨语言。文人画在色彩表现上重主观性,重水墨轻彩色,色彩表现追求意尽不求颜色似。文人画的画面构图崇尚简洁和留白,并打破时空的限制,依据主观感受经营画面,又注重画外功夫的修炼,融诗书画印为一体。从风格的整体倾向性而言,文人画呈现出淡、雅、拙和荒寒的意境。文人画的品评与绘画创作有着规导与互动的关系。文人画品评理论指导绘画创作的实践,同时,创作对理论也是一种体验与践行,创作也有对理论的超越、丰富和推动。文人画的品评对绘画的影响也不可避免地存在着消极的因素。因此,对于传统文人画的品评,我们应当理性的认知并继承其精神,以提高绘画创作的审美趣味,而不是教条的套用标准。综上,本文以文人画的品评为研究对象,系统、深入、多角度、全方位的分析传统文人画的品评理论、背后的成因、对绘画实践的影响、理论与创作的互动关系及对绘画发展的影响等问题,有利于充分把握传统文人画品评理论的精髓,合理地明辨现代中国画创作的发展动向。
[Abstract]:Literati painting began in Tang Dynasty, and developed by Su Shi in Song Dynasty. Dong Qichang put forward literati painting in Ming Dynasty and became popular. The collection of paintings became popular among literati and officials. The generation and development of painting can not be separated from the support of the corresponding theories. The theory guides and dominates the painters' concept of painting and exploration. The development of "literati painting" can be described as the interaction or promotion between the creation theory and the artist's artistic practice at that time. In the practice of painting, literati painters gradually formed a rich view of painting and gradually established a unique evaluation theory system. This paper combs the theory of literati painting evaluation and analyzes its causes from different angles. Confucianism, Taoism, Buddhism and philosophy have a deep influence on the way of thinking, aesthetic taste and artistic conception of literati painting, and social factors are also the important reasons to influence the theory of literary painting evaluation. Literati painters pursue "subject and object isomorphism", regard painting as the carrier of expressing subject's emotion, combine pen and ink with emotion, while depicting objective world, melt into the expression of inner world, emphasize the charm of works; The composition of literati and painter group and the particularity of collective consciousness are also the important factors that influence the evaluation theory. Most literati painters take painting as the rest, and most of the literati painters come from high power, and their status determines that they have the right to speak, and have great power to influence the development direction of painting, which can promote the practice of painting theory. Their mutual singing of literati painting theory will form a strong collective consciousness. The evaluation of literati painting has a profound influence on the creation of painting, which is reflected not only in the whole process of painting, but also in the unique pursuit of the painter in the aspects of shape, ink and pen, composition and so on. Literati painting to express the spirit, show personality as the purpose, do not seek to likeness, focus on God more than heavy form, with the easy pen to express ease, emphasis on freehand brushwork, strive to express artistic conception. The literati painters believe that ink has the independent beauty of form which is not attached to the objects of expression, and can express the subjective spirit of human beings, so it has a unique language of pen and ink. Literati painting emphasis on subjectivity in color performance, emphasis on ink, color, color performance pursuit of meaning do not seek color resemblance. Literati picture composition advocates simplicity and white space, breaks the limitation of time and space, manages the picture according to subjective feeling, pays attention to the practice of off-picture kung fu, and integrates poetry, calligraphy, painting and printing into one body. From the overall tendency of style, literati paintings show a light, elegant, clumsy and desolate artistic conception. The evaluation of literati painting and painting creation have the relation of regulation and interaction. Literati painting evaluation theory guides the practice of painting creation, at the same time, creation is also a kind of experience and practice to the theory, and creation has transcended, enriched and promoted the theory. The influence of literati painting evaluation on painting also inevitably has negative factors. Therefore, for the evaluation of traditional literati painting, we should rationally recognize and inherit its spirit in order to improve the aesthetic taste of painting creation, rather than the standard of applying dogma. To sum up, this paper takes the evaluation of literati painting as the research object, systemically, deeply, and comprehensively analyzes the traditional literary painting evaluation theory, the causes behind it, and the influence on painting practice. The interactive relationship between theory and creation and its influence on the development of painting are helpful to grasp the essence of traditional literary painting evaluation theory and to distinguish the development trend of modern Chinese painting creation.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J212

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