“质有而趣灵”—从写生中看太行山石质感的精神所在

发布时间：2018-02-28 08:05

本文关键词： 山水精神绘画语言山石形质写生笔法　出处：《河北师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：在中国传统山水画中,太行山题材是具有代表性的。随着当今时代的发展,山水画中传统皴法的表达已经很难完全体现现代社会的绘画语言,“笔墨当随时代”运用现代的绘画语言来表现山石质感,不仅能体现当代人对山水精神的理解,还能在古人的审美基础之上探索出新的审美理念。在对山水画的研究过程中,本文从山石质感的表现入手,山石中涉及皴法的并不少见,但对于山石质感表现中的笔墨总结或质感的呈现效果的研究并不多,例如斧劈皴跟披麻皴为什么呈现的质感不一样,所呈现的画面感和所表现的艺术风格为什么不同,我们要从最基本的笔法单元开始,也就是皴法,所以我们以皴法为母体和基本单位来探究山石质感表现的规律以及山石精神的所在。正文分为以下四部分:第一部分,从山水画的现状中探讨写生的目的和本质的重要性,以及山石质感表现的目的。在写生中要求画家深入生活当中去,把握山石形质规律,先通过山石质感的笔墨,表现出太行山的精神性,然后在扩大到对整个大山水的精神层次的理解上。第二部分,对五代和宋代两个时期中的太行山水画中山石质感笔法的规律进行了总结和研究,分析了山石的技法和精神层次对山水画的影响。第三部分,对太行山写生中具体的笔法表现进行研究,从山石笔墨的各种形式中发现美,并且从美中体会精神的所在,道的所在。第四部分,从太行山呈现方式的规律中发现太行山皴法的本质。山石自然形态多变而山水精神不变,要把握山水精神的内涵,要师古人,再结合现代语境探索新的绘画语言。
[Abstract]:In Chinese traditional landscape painting, the theme of Taihang Mountain is representative. The expression of traditional chapping method in landscape painting has been very difficult to fully reflect the painting language of modern society. The use of modern painting language to express the texture of mountain stone can not only reflect the understanding of modern people to the spirit of landscape, In the research process of landscape painting, this paper starts with the expression of the texture of the mountain stone, and it is not uncommon to involve the chapping method in the mountain stone. However, there are not many studies on the effect of brush and ink summarization or texture presentation in the performance of mountain stone texture. For example, why does axe cleavage appear different from why it presents texture, and why the picture and artistic style presented are different, We want to start with the most basic stroke unit, that is, chapping method, so we use the chapping method as the matrix and basic unit to explore the expression of the texture of mountain stone and the spirit of rock. The text is divided into the following four parts: the first part, From the present situation of landscape painting, this paper discusses the importance of the purpose and essence of sketching, as well as the purpose of expressing the texture of mountain stone. In the process of painting, the painter is required to go deep into life, grasp the law of mountain stone shape and quality, and first pass the pen and ink of mountain stone texture. Showing the spirit of Taihang Mountain, and then expanding to the understanding of the spiritual level of the whole landscape. The second part summarizes and studies the law of the stone texture of Taihang landscape painting in the five dynasties and the Song Dynasty. This paper analyzes the influence of the skill and spiritual level of the mountain stone on the landscape painting. The third part studies the specific strokes in the painting of the Taihang Mountain, finds the beauty from the various forms of the mountain stone brush and ink, and understands the spirit of the beauty from the Chinese and the United States. In part 4th, we find the nature of the texturing method in Taihang Mountain. The natural form of the mountain stone is changeable and the spirit of the landscape remains unchanged, so we should grasp the connotation of the spirit of the mountain and water, and teach the ancients. Combined with the modern context to explore the new painting language.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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