元代山水画点景与画家的审美取向

发布时间：2018-02-09 21:54

本文关键词： 点景审美取向文人山水画山水诗　出处：《陕西师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：任何艺术门类及作品都与人的精神有着密不可分的关系,山水画中的“点景”也以其独特的方式载负着自已的使命。元代是中国山水画发展的重要历史阶段,在中国美术史上占有重要地位。元代绘画所追求的是笔墨意趣与寄情于山水的审美取向,这是基于元代特殊的政治气氛为背景的前提下,及当时流行的哲学思想与艺术理论影响,同时也是艺术自身发展的必然结果。点景是山水画成为独立的画科后从人物画中解放出来的胜果。这种特定的视觉形象持续而又约定俗成的运用,在不同的时期受经济、政治、文化的影响表现出特有的表现方法与审美取向。“元代画家的重点已不在是对物象的描摹与再现,自然界原有物象被摆到了次要的位置”。①这说明元代绘画重点已不再是对客观对象(是整体还是画中点景)的真实再现,将五代北宋时期出现的无我之境,发展成更加注重绘画主体心灵的自由表达,注重笔墨意趣,尚意隐逸的人格化山水。“画面的景物可以非常简单,但意兴情趣却很浓厚”。②山水画中的点景也突破了形似的束缚,成为与人心灵沟通的绘画符号。元代山水画可以说是文人们隐于林泉之中的精神食粮。山水画点景中的清话、独钓、赏月可以看出这种与世无争看破世俗的心境。他们隐逸于林泉之间借绘画来抒发情感,“隐逸行为作为一种文化现象是与专制社会里的反抗精神相联系的。”③换句话说隐逸是特殊的时代背景下和知识分子内心思想彼此冲击后形成的产物,“隐”是外在行为,“逸”是内心的超凡脱俗,无拘无束的自由状态。当外在条件和内心希望不能相符,又无力去改变的时候,文人们选则了退而隐之,独善其身,一种消极无奈的生活态度。这也是一种文人的气节。从而绘画作品中隐逸题材大量出现,形成了元代独特的审美取向。对于元代山水画点景与画家的审美取向研究零星散见于一些文章或论述中,但都没有更加系统和完整的研究。本文以元代山水画点景与画家的审美取向为研究对象,联系当时的时代背景和文化的整体趋向,通过对元四家为代表的山水画点景的应用与特点(采用诗书画相互参证的方法)来分析元代文人画家的审美取向。同时加强了我们对山水画中“点景”运用的重要认识,也有利于山水画点景创新形式的形成,彰显我们这个时代特有的审美取向。通过对元代山水画点景的研究,揭示在特定的时代所产生的特有审美取向,具有不可否认的价值及意义。
[Abstract]:Any kind of art and works are closely related to the spirit of people, and the "Point View" in landscape painting also carries its own mission in its unique way. The Yuan Dynasty is an important historical stage of the development of Chinese landscape painting, which occupies an important position in the history of Chinese art. This is based on the background of the special political atmosphere of Yuan Dynasty and the influence of popular philosophy and art theory at that time. It is also the inevitable result of the development of art itself. Point view is the result of landscape painting being liberated from figure painting after it became an independent painting subject. This kind of special visual image is used persistently and stereotyped, and it is influenced by economy and politics at different times. The influence of culture shows a unique way of expression and aesthetic orientation. "the focus of the painters of the Yuan Dynasty is no longer to describe and reproduce the images of objects," he said. The original images of nature have been placed in a secondary position ".1 this shows that the focus of the Yuan Dynasty painting is no longer a true representation of the objective object (whether it is the whole or the mid-point scene of painting), and it will bring about the non-ego environment that emerged in the Northern Song Dynasty of the five dynasties. It has developed to pay more attention to the free expression of the mind of the subject of painting, to the interest of the pen and ink, and to the seclusion of the personified landscape. "the scenery of the picture can be very simple, but the interest of the interest in the landscape is very strong." .2 the point view in the landscape painting has also broken through the bondage of likeness. To become a painting symbol of spiritual communication with people. Landscape painting in Yuan Dynasty can be said to be the spiritual food hidden by literati in Lin Quan. When watching the moon, we can see that this kind of seclusion can see through the secular state of mind. They recluse themselves between Lin Quan and express their feelings by painting. "Hermit behavior, as a cultural phenomenon, is related to the spirit of resistance in an autocratic society." in other words, "Hermit behavior is associated with the spirit of resistance in an autocratic society." The theory of seclusion is the result of the impact of the intellectual's inner thoughts on each other under the special background of the times. "hiding" is the external behavior, and "escape" is the inner transcendence from vulgarity. The unrestrained state of freedom. When external conditions and inner hopes do not match, and when they are unable to change, the literati have chosen to retreat and remain alone. A negative and helpless attitude to life. This is also a kind of literati's integrity. As a result, a large number of reclusive subjects appeared in the painting works, forming a unique aesthetic orientation of the Yuan Dynasty. The research on the point view of landscape painting and the aesthetic orientation of the painter in Yuan Dynasty is scattered in some articles or expositions, but there is no more systematic and complete study. This paper takes the point view of landscape painting in Yuan Dynasty and the aesthetic orientation of the painter as the research object. In connection with the background of the times and the overall trend of culture at that time, This paper analyzes the aesthetic orientation of literati painters in Yuan Dynasty by analyzing the application and characteristics of landscape paintings, which are represented by four Yuan schools (using the method of poetry, calligraphy and painting mutual reference). At the same time, it strengthens our important understanding of the application of "spot view" in landscape painting. It is also conducive to the formation of the innovative form of landscape painting, showing the unique aesthetic orientation of our time. Through the study of the landscape painting of the Yuan Dynasty, it reveals the unique aesthetic orientation produced in a specific era. It has undeniable value and significance.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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