中国传统山水画的虚境营造研究

发布时间：2018-01-31 00:24

本文关键词： 中国传统山水画虚境营造实境写意性无尽意空间　出处：《西南大学》2013年硕士论文　论文类型：学位论文

【摘要】：中国传统山水画中虚境营造这一创作过程,反应着传统文人对中国哲学思想最高境界的理解和实践。他们用自然山水中的“无限”空间比附“道”中的“虚无”、“淡泊”、“玄远”,最终归于“天地精神”和“人生境界”,在后来的发展中也产生了对禅的精神比附,并通过山水画的方式将其表现出来,使山水画成为一个具有“天地精神”的小宇宙。此小宇宙包含着画家“无限”的、永恒的人生境界,此“无限”和永恒来源于山水画中“虚远”空间的无尽意暗示,使画中产生出最为期待、最为丰富的包含着道学精神的无尽意蕴。那么山水画虚境的营造与画中的空间传达有密切的关系,其首先要求能表达出无尽空间；其次须使这种无尽空间传达出无尽联想的画外空间,继而使虚远空间成为无尽意的“虚境”。本文以传统山水画为研究对象,主要内容集中在第二章,根据山水画变化发展的几个阶段进行分层研究。即以山水画萌芽的东晋顾恺之时期到山水画形制基本完成的隋代展子虔时期为一阶段,主要分析了早期丹青山水作为配景画的“类虚境”表达,以及由宗丙开始的关于独立山水画“远空间”意韵的表达。第二阶段五代两宋实境山水画的虚境营造,主要分析了实境山水画中的相关技法和虚境营造技法,第三阶段为元明清以虚境营造为主导的技法变衍,主要分析了从元代兴起的写意山水虚境营造的相关技法及明清的继承与发展。基于第二章的研究,第三章以归纳总结的方法梳理出了山水画虚境营造技法的基本框架。第四章则将虚境营造延伸至当代山水画,以及笔者在山水画创作中的体会。本文落实于传统山水画中虚境营造的技法上进行研究,试图从历代山水画理论以及与之时代相对应的山水画中得到启发,从而对虚境营造进行方方面面的技法剖析,进而对传统山水画的虚境营造方法进行一框架性的梳理,使虚境营造技法形成一系统化方法,此为本论文的研究目的之一。研究传统山水画中的虚境营造技法,试图改变一般对山水画中“虚境”就是“虚空”,就是留白等这一类较为片面的、表面化的基本认识。希望对山水画虚境的较为深度和广度的理解起到穿针引线的作用,此为本论文的研究目的之二。目的之三,对这一命题的研究,能指导笔者在山水画创作中的虚境营造方法,也成为山水画创作的理论根据之一。最后,使山水画创作能紧紧依附着山水画本质精神这一文化指向,体现着山水画的本土文化价值。
[Abstract]:Chinese traditional landscape painting in the virtual environment to create this creative process. It reflects the traditional literati's understanding and practice of the highest realm of Chinese philosophical thought. They use the "infinite" space in the natural landscape to compare the "nothingness", "indifference" and "metaphysics" in "Tao". Ultimately attributed to the "spirit of heaven and earth" and "realm of life", in the subsequent development of the spirit of Zen also produced a match, and through the way of landscape painting to show it. So that landscape painting has become a "heaven and earth spirit" of the small universe. This small universe contains the painter "infinite", the eternal realm of life. This "infinite" and eternal from the landscape painting "empty far" space of endless implication, so that the painting produced the most expected. The most abundant contains the endless meaning of the Taoist spirit. Then the construction of the virtual landscape painting and the space in the painting are closely related, its first requirement is to express the endless space; Secondly, this kind of endless space must convey the endless association of the outside space, and then make the empty space into the endless meaning of the "virtual environment." This article takes the traditional landscape painting as the research object, the main content concentrates in the second chapter. According to the landscape painting changes and development of several stages of stratification research, that is, landscape painting germination of the Eastern Jin Gu Kaizhi period to landscape painting form system completed in the Sui Dynasty exhibition period as a stage. Mainly analyzed the early Danqing landscape as a matching landscape painting "virtual territory" expression, as well as from Zong started on the independent landscape painting "far space" meaning rhyme expression. The second stage of the five dynasties and two Song Dynasty real landscape landscape painting virtual environment construction. Mainly analyzes the real landscape painting in the related techniques and virtual environment construction techniques, the third stage of the Yuan, Ming and Qing dynasties with the virtual environment as the dominant techniques change. It mainly analyzes the related techniques and inheritance and development of freehand brushwork from Yuan Dynasty based on the second chapter. The third chapter combs out the basic frame of the techniques of landscape painting virtual environment construction with the method of summing up. Chapter 4th extends the virtual environment construction to contemporary landscape painting and the author's experience in landscape painting creation. This article carries on the research in the traditional landscape painting in the virtual environment construction technique, attempts to obtain the inspiration from the successive dynasties landscape painting theory and the corresponding landscape painting corresponding to the times. In order to construct virtual environment in all aspects of the analysis of the techniques, and then the traditional landscape painting virtual environment construction method of a frame combing, so that virtual environment construction techniques to form a systematic method. This is one of the purposes of this paper. The study of traditional landscape painting in the virtual environment construction techniques, trying to change the general landscape painting "virtual territory" is "empty", is such a more one-sided landscape painting. The basic understanding of the surface. I hope to understand the depth and breadth of the landscape painting virtual territory play a role in the role of thread, this is the second purpose of this paper. Third, the study of this proposition. Can guide the author in the creation of landscape painting virtual environment building method, but also become one of the theoretical basis of landscape painting creation. Finally, the landscape painting creation can be closely attached to the spirit of landscape painting this cultural point. It embodies the local cultural value of landscape painting.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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