元代渔父情结山水画中的文人隐逸心态研究

发布时间：2018-04-14 08:21

本文选题：元代 + 山水画　；参考：《扬州大学》2013年硕士论文

【摘要】：元代是中国隐逸文化盛行的时代,文人士大夫作为绘画创作的主体,普遍存在着隐逸倾向,导致了元代成为文人画发展的高峰时代。古代的文人大多自比为渔父,在抱负不得展,人生不得意的时候,将常常在远离尘嚣的大自然中独来独往的渔父作为表达的对象,借以抒发自己怀才不遇、苦闷之际时所希冀的烟波之乐。渔父形象被赋予的闲适与孤傲的文化内涵使之成为隐逸情感表达的载体,使得历来的画家,都将渔父作为隐逸文化中的经典形象,在创作中反复的应用。据文字记载,渔父形象在山水画中出现的最早时期是在魏晋南北朝,在此之后的各时期的绘画作品中,大都能发现渔父的影子。到了元代,绘画中渔父形象的出现,在数量和影响上与前代有了重大的突破。本文主要以元代有渔父形象的山水画为研究对象,结合时代背景与作者生平,通过画面的分析与比对,探究其兴盛的原因,并借渔父这一审美形象在元代的发展情况,透视在中国传统文化熏染下的文人隐逸心态,总结出元代渔父情结山水画中的文人隐逸心态的特点及其影响,以加深对中国山水画的认识与理解。本文主要分四章来进行论述：第一章对渔父情结山水画的内涵做出界定,介绍渔父情结山水画的起源以及元代以前的创作概况;第二章按一定的时间顺序,对渔父情结山水画创作中具有代表性画家的作品进行分析,窥探元代渔父情结山水画的发展状况；第三章分析了渔父情结山水画在元代兴盛的主要原因,总结了元代的社会、文化以及文学等方面对渔父情结山水画的影响；第四章结合山水画风格与意识等方面,对元代渔父情结山水画中文人隐逸心态的意义进行分析。隐逸文化以及产生出的一类人物,是中国历史上一个独有的文化现象。山水画中的渔父形象,在人物形态、文化内涵等方面作为文化艺术中一道独特的人文景观,以及所经受的深厚历史积淀,使它成为我们走进文人隐逸心态最深层次的一道桥梁。
[Abstract]:The Yuan Dynasty was the prevailing era of Chinese reclusive culture. As the main body of painting creation, literati and officials generally had the tendency of seclusion, which led to the Yuan Dynasty becoming the peak period for the development of literati painting.Most of the ancient literati were fishing fathers, and when their ambitions were not developed and their life was not satisfactory, they often used the fishing father, who was alone in the nature far from the noise, as the object of expression, so as to express their talents and talents.The joy of the smoke waves desired in times of distress.The idleness and solitude of the image of the fishing father make it become the carrier of the expression of seclusion emotion, so that the painters of the past regard him as the classic image in the reclusive culture and repeatedly apply it in the creation.According to the written records, the earliest period of the image of Yufu in landscape painting was in the Wei, Jin, Southern and Northern dynasties.By the Yuan Dynasty, the appearance of the image of the fishing father in painting had a great breakthrough with the previous generation in terms of quantity and influence.This paper mainly takes the landscape painting with the image of Yufu in Yuan Dynasty as the research object, combining with the background of the times and the author's life, through the analysis and comparison of the pictures, probes into the reasons for its prosperity, and draws on the development of the aesthetic image of Yufu in the Yuan Dynasty.In order to deepen the understanding and understanding of Chinese landscape painting, the writer's reclusive mentality influenced by Chinese traditional culture is analyzed, and the characteristics and influence of literati's reclusive mentality in the Yuan Dynasty's Yu Fu complex landscape painting are summarized in order to deepen the understanding and understanding of Chinese landscape painting.This paper is divided into four chapters: the first chapter defines the connotation of Yufu complex landscape painting, introduces the origin of Yufu complex landscape painting and the general situation of creation before Yuan Dynasty; the second chapter according to a certain order of time,This paper analyzes the works of representative painters in the creation of Yufu complex landscape painting, and probes into the development of Yufu complex landscape painting in Yuan Dynasty. Chapter three analyzes the main reasons for the prosperity of Yufu complex landscape painting in Yuan Dynasty, and summarizes the society of Yuan Dynasty.The fourth chapter combines the style and consciousness of landscape painting to analyze the meaning of the recluse mentality of the Chinese people of the Yufu complex of landscape painting in Yuan Dynasty.The reclusive culture and its characters are a unique cultural phenomenon in Chinese history.The image of fishing father in landscape painting, as a unique cultural landscape in culture and art, makes us a bridge into the deepest level of recluse mentality of literati.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】