南宋院体画影响下的日本狩野派山水画

发布时间：2018-01-20 15:27

本文关键词： 南宋院体画日本水墨山水画文化交流绘画图式画家身份　出处：《曲阜师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：中国古代的绘画艺术成就辉煌、历史悠久，是中华传统文化的重要组成部分。中华文明博大精深，有着自己独特的自然观、艺术观与审美观，在此基础上形成了中国绘画独特的思维模式，表现语言与绘画风格，是中华民族的民族性格在绘画上的高度反映。中国古代文明对日本文化在广度与深度上都产生了巨大影响，涉及社会生活的各个方面。尤其是中国古代绘画的魅力与艺术价值更令日本人崇拜与折服，由于地理位置上的接近，便利了两国之间的往来，在历史上日本画家曾多次到中国来学习绘画，中国文化艺术成了日本创造本国文化形态的母本，唐宋时期曾在日本形成数次学习中国绘画的高潮。特别是在宋代，院体画达到了他的巅峰时期，，山水画完成了由北宋“全景构图”到南宋“边角之景”的过渡，这种变化的原因是多方面的，人们对待自然的方式逐渐由外在的表现转向对内心的关照，这些观念也深深影响了当时的日本绘画。日本狩野派是日本绘画史上存在的时间最长、也最具有影响力的画派，画风吸收了宋朝院体画和僧侣禅意画的营养，并根据日本本土的审美习惯对宋朝院体画的构图、题材、笔墨技法等进行了多方面的改造，在中国南宋院体画的基础上形成了自己的绘画风格。狩野派前期风格水墨韵味较足，更像南宋院体画的翻版。狩野派被世人熟知的是其金碧辉煌而又充满装饰趣味的的障屏画，这种金碧辉煌的风格既有中国青绿山水画的瑰丽，也有着院体画的豁达，这种独特风格的形成非常值得研究。在当代，国内外学者对狩野派绘画风格在各个时期的发展演变研究相对来说较匮乏，也忽视了狩野派在特殊的家族延续方式下对其绘画形态的影响。南宋院体画与狩野派山水画的关系属于艺术研究的边缘学科，但其又是艺术研究领域中不可忽视的重要方面，对中日绘画历史研究有着极为重要的意义。因此，笔者把狩野派山水画形成的各因素进行系统全面的整理分析，通过和中国南宋院体绘画在各层面进行比较，并深入探讨其背后所折射出来的种种现象，力求全面的展现出这一传奇画派的风采以及其与南宋院体画的渊源关系，对作为中国美术支流的日本绘画研究做一点补充。本课题基于各领域的研究成果，主要运用了比较分析法、作品分析法、文献参考法、著作参照法、历史调研法和理论联系实际等一系列综合研究的方法，力求运用多视角和学科横向交叉对绘画艺术进行研究。
[Abstract]:The ancient Chinese painting art has a brilliant achievement and a long history, which is an important part of Chinese traditional culture. The Chinese civilization is extensive and profound, and has its own unique view of nature, art and aesthetics. On this basis formed a unique mode of thinking of Chinese painting, the expression of language and painting style. It is the high reflection of the national character of the Chinese nation in painting. Ancient Chinese civilization has a great impact on the breadth and depth of Japanese culture. Especially the charm and artistic value of ancient Chinese paintings make the Japanese worship and admiration, because of the proximity of geographical location, facilitate the exchanges between the two countries. In history, Japanese painters have come to China many times to learn painting, Chinese culture and art has become the mother of Japan to create its own cultural form. During the Tang and Song dynasties, there were several climaxes of learning Chinese painting in Japan. Especially in the Song Dynasty, the school painting reached its peak, and the landscape painting completed the transition from "panoramic composition" to "the scene of the border corner" in the Northern Song Dynasty. There are many reasons for this change, and the way people treat nature gradually changes from external performance to inner care. These ideas also deeply affected the Japanese painting at that time. The Japanese Shunye School was the longest and most influential painting school in the history of Japanese painting. The painting style absorbed the nutrition of the Song Dynasty Yuan style painting and the monk Zen painting. And according to the Japanese native aesthetic habits of the Song Dynasty Yuan painting composition, subject matter, pen and ink techniques and other aspects of the transformation. On the basis of the style painting of the Southern Song Dynasty in China, it formed its own painting style. It is more like the reproduction of the style paintings of the Southern Song Dynasty. What is well known to the world is its golden and colorful barrier screen paintings which are full of decorative interest. This brilliant style has the beauty of Chinese green landscape paintings. The formation of this unique style is very worthy of study. In contemporary, scholars at home and abroad relatively lack of research on the development and evolution of the Shou style in each period. It also ignores the influence of Shou Ye School on its painting form under the special family continuation mode. The relationship between the style painting of the Southern Song Dynasty and the landscape painting of the Shishenye School belongs to the marginal subject of art research. However, it is also an important aspect in the field of art research, which is of great significance to the study of Chinese and Japanese painting history. Through the comparison with the style painting of the Southern Song Dynasty in China at all levels, and in-depth study of its behind the refraction of a variety of phenomena. Strive to comprehensively show the style of this legendary painting and its relationship with the South Song Dynasty style painting, as a tributary of Chinese art in the study of Japanese painting to do a little complement. Based on the research results in various fields, this paper mainly uses a series of comprehensive research methods, such as comparative analysis method, work analysis method, literature reference method, book reference method, historical investigation method and theory combined with practice. Try to use multi-angle and cross-disciplinary horizontal to study the art of painting.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

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