宋代手卷山水画空间表现研究

发布时间：2018-01-19 12:23

本文关键词： 宋代手卷空间表现　出处：《中国美术学院》2014年硕士论文　论文类型：学位论文

【摘要】：手卷作为中国画的一种形制,是古代文人雅士绘画创作和品评把玩的一种载体。在诸多中国画的形制中,手卷的画作虽然有其他形制的共性,同时又有着它的独特性。首先,手卷是一种非常适合在私人空间中的把玩和鉴赏的物品,它的展示方式是非公共空间性质的,具有一种封闭空间中自娱自乐的特点。再者,手卷的观阅过程中,由于人手的介入操控着画卷的收起和展开,所以时间的维度也就不知不觉的被加入到空间的移动推进中去,造就了手卷只有在时间的流转过程中,才能慢慢的阅读到未展开的内容。手卷的反复展开和不断的收起所形成的观赏特殊性,使手卷的画面空间表现与其他的形制不尽相同,具有它内在的空间意识和人文品质。宋代是山水画史的一个鼎盛时期,以宋代的手卷山水画来研究手卷的空间表现,更具有形式构成中的典范意义,也能体悟情景转换中的空间塑造。因此,本文的第一章主要是来论述手卷的“观”与“游”,即在观看手卷画作中,观者是怎样通过画面的场景感悟,激起内心对真山水的向往,达到畅游的状态。第二章主要论述在宋代山水画的大背景下,手卷这种特殊形制的空间表现,如“观物之法”和“三远”在手卷中的体现,论述创作者是如何把变化万千的造化吐纳到绢素之上。第三章是结合手卷的观阅的方式,论述“步移景换”的效果在手卷中的精彩演绎和空间结构。第四章是讨论宋代手卷山水画的节奏与空间表现的关系,阐述“虚实”和“空白”在空间建构中的作用。通过以上的论述来把握宋代手卷山水画的空间表现的特殊性,并以此来思考手卷所赋予的空间表现的积极意义,解读中手卷的空间形式和观念形成。并对当下山水画创作中如何更好的传承借鉴,如何从中国画形制的分析和阅读,为中国画创作实践提供更多的可能和参照。
[Abstract]:As a form of Chinese painting, hand scroll is a carrier of painting creation and evaluation of ancient literati. In many Chinese paintings, the paintings of hand roll have the common character of other forms. At the same time, it has its uniqueness. First of all, the hand roll is a very suitable in the private space of play and appreciation of the object, its display is non-public space nature. It has the characteristic of amusing itself in a closed space. Moreover, in the viewing process of the hand roll, the manual intervention controls the picture scroll's arrangement and development. So the dimension of time is unconsciously added to the movement of space to promote the creation of the hand roll only in the process of time circulation. In order to slowly read to the undeveloped content. The repeated expansion of the hand roll and the continuous closure of the form of ornamental particularity, so that the picture space performance of the hand roll and other shapes are not the same. It has its inner space consciousness and humanistic quality. Song Dynasty is a peak period of landscape painting history. To study the space performance of hand scroll landscape painting in Song Dynasty is more exemplary meaning in the form of composition, but also can understand the space shaping in the scene transformation. The first chapter of this paper is mainly to discuss the "view" and "tour" of the hand scroll, that is, how the viewer through the scene of the picture perception, arouse the heart of the true landscape yearning. The second chapter mainly discusses in the Song Dynasty landscape painting background, the special form of the hand roll space performance, such as "the law of objects" and "three far" in the hand scroll embodiment. This paper discusses how the creators inhale the variety of creations onto seric.Chapter three is the way to read the hand rolls. This paper discusses the wonderful deduction and spatial structure of the effect of "changing scenery by walking" in the hand roll. Chapter 4th discusses the relationship between the rhythm and the spatial expression of the landscape painting in the hand roll of the Song Dynasty. This paper expounds the function of "empty reality" and "blank" in the construction of space. Through the above discussion to grasp the special features of the Song Dynasty hand-curly landscape painting, and to think about the spatial expression of the positive significance of the hand roll. Interpretation of the form of space and concept of the formation of hand-scroll. And how to better inheritance and reference in the current landscape painting creation, how to analyze and read from the Chinese painting form system, provide more possibility and reference for the Chinese painting creation practice.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【共引文献】