试论宋画之空灵美对当代工笔人物画之影响

发布时间：2018-04-09 00:26

本文选题：宋画　切入点：空灵美　出处：《西安美术学院》2016年硕士论文

【摘要】：宋画中的空灵之美是中国绘画非常重要的美学思想之一,主要源于道家和禅宗哲学,自隋唐到两宋,空灵美学达到兴盛。主要源于宋代所提出的“崇文抑武”和“理学”思想的影响较大。“崇文抑武”使得文化有了更大的发展空间;而“理学”兼容并包的吸收了道家、玄学、佛学思想,使得理学更加思辨和哲学化。在这样的社会背景和历史根源下使得宋代文化空前繁荣。主要表现在文学、绘画、宋瓷、琴曲等方面,尤以绘画为代表的空灵之美最具典型性。宋画所体现出的空灵之美,在南宋山水中体现的最为精妙,南宋山水较之北宋山水的磅礴雄浑在意境上给人的感觉则以幽深、开阔、静谧为主,即空灵之美。这种意境最为后世所尊崇。巧妙的运用空白、诗意的追求、典雅的设色、虚实相生的意蕴这些鲜明的绘画特点使得南宋山水在绘画史上独树一帜。并在南宋山水画意境营造呈现空灵之美上作了很好铺垫。典型的作品有马远的《寒江独钓图》画面寂静辽阔,物象高度简洁概括。即所谓的极简主义,运用到画面中,则是给人以无限的想象空间。类似的作品南宋很多。南宋山水的空灵之美可以说影响深远。在当代工笔人物画创作中,由于受西方绘画理念的影响,绘画面貌繁杂多样,尤在画面构图上,以满沟图的作品形式居多,这种满沟图追求的是繁、密、实、画面多不留白,画面在极力追求极节刻画的同时缺失了一些意趣,而这里的意趣正是南宋山水画中的灵魂—空灵之美。所以笔者认为通过解读南宋山水画中的艺术特色对于改变这种状况具有很好的调适作用。山水画和人物画虽属不同题材,但两者在意境营造上还是有共通之处的。如在画面构图上,宋郭熙的《林泉高致》中的“三远法”就明确总结了山水画在散点透视影响下,即“平远、高远、深远”在不同透视方法下所营造的画面意境给人的审美情感的差异。而当代工笔人物画在西方的透视影响下,使得工笔人物画在不同的透视观照方法上所产生的审美情感也不尽相同,如不同的视角、视距在画面构图中给人的不同审美情感,所以无论古今绘画在透视上给人的心理审美情感的变化是相同的,这点适用于任何画种。当然了还有其他方面的,如淡雅的设色,意象的形神兼备等这些都是构成工笔人物画空灵之美的条件,本文只从构图上展开分析。本文正是通过对南宋山水画为代表的宋画的空灵之美进行解读,进而研究在当代工笔人物画上如何营造空灵之美,通过从构图方法上举例分析,使得当代工笔人物画创作在借鉴南宋山水画的营造法式中取得一些切实可行的方法,让当代工笔人物画在营造空灵之美上成为可能,再延展到笔者的毕业创作构图方法,使空灵之美在工笔人物画在营造空灵美上切实可行。
[Abstract]:The beauty of emptiness in Song Dynasty painting is one of the most important aesthetic thoughts in Chinese painting, mainly derived from Taoism and Zen philosophy. From the Sui and Tang dynasties to the Song Dynasty, the idyllic aesthetics flourished.Mainly from the Song Dynasty put forward by the "worship of the text to suppress the Wushu" and "Neo-Confucianism" has a greater impact."worship of literature and suppression of military force" makes culture have more space for development, while "Neo-Confucianism" absorbs Taoism, metaphysics and Buddhism thought, which makes Neo-Confucianism more speculative and philosophical.Under such social background and historical origin, the Song Dynasty culture flourished unparalleled.Mainly in literature, painting, Song porcelain, piano and other aspects, especially painting as the representative of the beauty of the most typical.The beauty of emptiness embodied in the Song Dynasty is the most exquisite in the landscape of the Southern Song Dynasty. Compared with the majestic beauty of the landscape in the Northern Song Dynasty, the feeling of the majestic majesty of the landscape in the Southern Song Dynasty is deep, open and quiet, that is, the beauty of the emptiness.This artistic conception is most respected by later generations.The ingenious use of blanks, the pursuit of poetry, the elegant color setting, the meaning of the void and the reality make the landscape of the Southern Song Dynasty unique in the history of painting.And in the Southern Song Dynasty landscape painting artistic conception construction presents the emptiness beauty has made the very good foreshadowing.Typical works of Ma Yuan's "Han River fishing" picture is silent vast, the image is highly concise summary.That is, minimalism, applied to the picture, is to give people unlimited space for imagination.There were many similar works in the Southern Song Dynasty.The idyllic beauty of the Southern Song Dynasty can be said to have a profound impact.In the creation of contemporary meticulous figure paintings, due to the influence of western painting concepts, the painting features are complex and diverse, especially in the composition of the picture, most of which are in the form of the full ditch drawing, which pursues numerous, dense, solid and non-white pictures.At the same time, there is a lack of interest, which is the soul of the Southern Song landscape painting-the beauty of the emptiness.Therefore, the author thinks that the artistic characteristics of landscape painting in the Southern Song Dynasty have a good adjustment to change this situation.Landscape painting and figure painting belong to different subjects, but they still have something in common.For example, in the picture composition, the "three far methods" in Song Guo Xi's "Lin Quan Gao Zhi" clearly summed up the landscape paintings under the influence of scattered point perspective, that is, "Pingyuan, Gao Yuan,"Far-reaching "the difference of aesthetic emotion created by the artistic conception of the picture under different perspective methods."Under the influence of the western perspective, the contemporary meticulous figure painting has different aesthetic feelings in different perspective methods, such as different visual angle, different aesthetic emotion of visual distance in the composition of the picture.So the change of psychological aesthetic emotion in perspective of painting is the same, which can be applied to any kind of painting.Of course, there are other aspects, such as elegant color, image form and spirit, and so on.This article is through to the south Song Dynasty landscape painting as the representative song painting the empty spirit beauty carries on the interpretation, then studies in the contemporary fine brushwork figure painting how to create the empty spirit beauty, through from the composition method example analysis,It makes the contemporary meticulous figure painting creation obtain some practical methods in drawing lessons from the French style of landscape painting in the Southern Song Dynasty, and makes it possible for contemporary meticulous figure painting to create the beauty of emptiness, and then extends to the author's graduation composition method.To make the beauty of the empty figure painting in the creation of the spirit of the United States is feasible.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212

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