李公麟与北宋文人画产生之关系考评

发布时间：2018-05-01 07:40

本文选题：再现 + 李公麟　；参考：《中央美术学院》2015年硕士论文

【摘要】：自北宋以降,文人士大夫阶层开始介入绘画领域,其焕然一新的创作思想、综合全面的自身修养,促使一种不同于宫廷职业画家的新的文人画风出现。本文从史学家眼中作为宋代绘画核心人物之一的李公麟谈起,阐释在特定的政治文化背景下,士大夫阶层如何在“职业画家”以外建立自身的身份定位和绘画方向,中国绘画结构怎样从宋以前的再现外观世界向注重内心表达的方向转型。文章结构上,第一章主要通过考察李公麟的重要传世作品《临韦偃牧放图》的背后,分析其绘画创作目的,以及对绘画深层的内涵与形式的改变,从而窥探“文人画”产生的必然。第二章旨在通过北宋时期画理、画法的梳理,分析李公麟《五马图》在绘画方法论上的改造。第三章主要探讨与李公麟同时代的文人士大夫艺术家的文人绘画自觉意识的形成原因和理论内涵。特别是北宋文人画家逐步确立起来的身份意识和创作目的,以及从魏晋隋唐绘画对“形”、“神”关系的观照逐步转移到对“形意”的思辨。
[Abstract]:Since the Northern Song Dynasty, the literati and officials began to intervene in the field of painting, its new creative ideas, comprehensive self-cultivation, promote a new style of literati painting, which is different from the court professional painters. This paper begins with Li Gonglin, who is one of the key figures in the painting of Song Dynasty in the eyes of historians, and explains how the literati and bureaucrats establish their own identity and painting direction outside the "professional painter" under the specific political and cultural background. How to transform the structure of Chinese painting from reappearance world before Song Dynasty to focus on inner expression. In terms of the structure of the article, the first chapter analyzes the purpose of his painting creation and the changes of the deep connotation and form of his painting by examining the background of Li Gonglin's important work "Lin Wei Yan Mu Fang Pian". In order to explore the "literati painting" the inevitable. The second chapter aims to analyze the transformation of painting methodology of Li Gonglin's five Horse figures through the carding of painting theory and painting method in Northern Song Dynasty. The third chapter mainly discusses the formation reason and the theoretical connotation of the literati painting consciousness of the literati officials and artists of the same time as Li Gonglin. Especially, the identity consciousness and creative purpose of literati painters in Northern Song Dynasty were gradually established, and the reflection of the relationship between "form" and "God" in Wei, Jin, Sui and Tang dynasties was gradually transferred to thinking about "form and meaning".
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J212

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