浅析八大山人对倪瓒山水画的传承与演变

发布时间：2018-01-31 15:15

本文关键词： 八大山人倪瓒绘画风格美学思想传承发展　出处：《曲阜师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：元朝和清代都是异族统治的时期，汉人的社会地位受到严重排挤，尤其是那些文人士大夫，胸中大志无法得以实现，心中不满的情绪便油然而生，当中有不少文人选择了弃仕从隐这一路径，终日与山林、溪水为伴，通过绘画的形式将心中的情感抒发出来。正是由于特殊的时代背景和人生经历成功地造就了一批优秀的山水画家，像元四家和清初四僧就分别代表了元代和清代山水画的巅峰时刻。恰巧元四家中的倪瓒和清初四僧中的八大山人（以下简称“八大”）无论在生活经历还是在思想阅历上都有很大的相似之处，，，细看二位的画作，笔者认为他们之间存在着共鸣，在八大的山水画中可以看到很多倪画的影子，这与八大学习倪瓒的山水画有着不可分割的原因。八大与倪瓒跨越300多年的历史，在绘画艺术上产生交集，董其昌在中间发挥着重要的桥梁作用。八大和倪瓒是元清时期具有影响力的两位画家，并且二人都极富创新精神，其艺术成就对后世影响深远。综观八大留存于世的山水画作品，有不少题识“仿倪瓒山水”的作品，从这一点可直观地发现，八大的山水画在一定程度上学习和借鉴了倪瓒的山水，值得注意的是八大画中的“仿”不是全盘照搬描摹，而是将其变为一种创作手段，展现了一种与原画有着别样风格趣味的山水画。八大把学习山水画的临仿途径，发展到了一个新的高峰。本文拟从两者的生平经历、绘画风格与美学思想方面进行分析，总结比较二位的异同之处，进而探析和考证其内在的承变关系。本课题第一部分主要是论述八大山水画师承之根源，引出八大学习倪瓒山水画的渊源。第二部分是对八大和倪瓒的艺术特色进行全面分析为第三部分做铺垫。在本文的第三部分笔者先对八大和倪瓒山水画的异同进行总结归纳，发现二位的山水画都体现了一种简、淡、空、真的面貌，淋漓尽致地向世人表达了一种“道禅入画”的绘画思想。另外，由于身份背景的差异性，二人在情感内容的抒发上又彰显着各自的特点。紧接着重点探析和考证了八大在技法和思想方面对倪瓒的传承和演变。八大秉承了倪瓒山水画中对“逸”的追求和程式化的章法，并将倪画中的舒缓线条和寂静之境变得略显动感。第四部分笔者主要是谈一谈由八大对倪瓒山水画的传承和演变，延伸出来的对传承和创新的再认识，以及对当今山水画教学的启示。这对于笔者以后从事教学工作和绘画创作有很大的启迪意义。
[Abstract]:The Yuan Dynasty and Qing Dynasty were the period of alien rule, the social status of Han people was seriously excluded, especially those literati and officials, the ambition could not be realized, the heart of discontent arises. Among them, many scholars chose to abandon the official from hidden this path, all day long with mountains, forests, streams as partners. Through the form of painting to express the feelings of the heart. It is because of the special background of the times and life experience successfully created a number of excellent landscape painters. The four Pixels and the four monks in the early Qing Dynasty represented the peak time of the landscape paintings of the Yuan Dynasty and the Qing Dynasty, respectively. It happened that Ni Zan of the four Yuan families and eight of the four monks in the early Qing Dynasty (hereinafter referred to as the "eight great"). No matter in the life experience or in the thought experience all have the very big similarity. I think there is a resonance between them, in the eight landscape paintings can see a lot of Ni painting shadow. This has an inseparable reason for studying Ni Zan's landscape painting. The eighth National Congress and Ni Zan span more than 300 years of history and intersect in painting art. Dong Qichang plays an important role as a bridge in the middle. The eighth National Congress and Ni Zan are two influential painters in the Yuan and Qing dynasties, and both of them are full of innovative spirit, and their artistic achievements have a profound impact on later generations. There are many works of "imitating Ni Zan's landscape". From this point, it can be directly found that the eight great landscape paintings learn and learn from Ni Zan's landscape to a certain extent. It is worth noting that the "imitation" in the eight major paintings is not a complete copy, but a means of creation. It shows a kind of landscape painting which has a different style and interest from the original painting. This article from the two life experience, painting style and aesthetic thinking aspects of analysis, summed up the similarities and differences between the two. The first part of this thesis mainly discusses the root of the eight major landscape painting teachers. The second part is to make a comprehensive analysis of the artistic characteristics of the eighth National Congress and Ni Zan for the third part. In the third part of this article, the author first to the eight National Congress and Ni Zan landscape painting similarities and differences. Summing up. Found that the two landscape paintings reflect a simple, light, empty, real face, incisively and vividly expressed to the world a "Tao Zen painting" painting thought. In addition, due to the differences in identity background. The two of them showed their own characteristics in the expression of emotional content. Then the emphasis was put on the inheritance and evolution of Ni Zan in the techniques and thoughts of the eighth National Congress. The eighth Congress inherited Ni Zan's "Yi" in the landscape painting of Ni Zan. The pursuit and stylization of the rules. The 4th part of the author mainly talks about the inheritance and evolution of the eight National Congress of Ni Zan landscape painting, extending out of the new understanding of inheritance and innovation. As well as the enlightenment to the present landscape painting teaching, which is very enlightening significance for the author to engage in teaching work and painting creation in the future.
【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】：J205

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