李日华绘画美学思想研究

发布时间：2018-05-01 09:03

本文选题：李日华 + 绘画　；参考：《扬州大学》2017年硕士论文

【摘要】：晚明是政治腐败、思想巨变的时代,也是文化艺术发展迎来鼎盛的时代,尤以绘画艺术为最。伴随绘画创作实践的繁荣,绘画思想集前人大成也极为丰富成熟。李日华作为与董其昌、王惟俭齐名的三大“博物君子”之一,是晚明冠绝一时的书画鉴藏大家,其在绘画创作和鉴藏活动中所体现的美学思想值得研究。本文立足他的诸多论画著作文本内容,整理、分析、归纳,从认识论、创作论、鉴赏论三个方面阐述其绘画美学思想。本文在引言和结语以外,共分四章。引言对文章的研究现状、研究价值和研究方法作出介绍;结语对李日华绘画思想体系作出总结,并点明其鉴藏活动以作品本身艺术价值和历史定位为依据对画家作出评价的特点。第一章,介绍时代背景与李日华的生平交游情况,为后文对其绘画思想的分析归纳打好基础。第二章,考察李日华对绘画两个基本问题的认识,即对“韵”与“法”辩证关系和“德”与“艺”相互联系的讨论。针对晚明画坛“取韵之风”盛行导致绘画不讲章法、空疏放诞的弊端,他提出要重视“真工实能”之迹,师古、师自然,在熟练掌握专业造型技法的基础上“取韵”,实现绘画构造中“韵”与“法”的和谐统一。通过对“德”与“艺”的讨论,得出人品决定画品的结论。他所说的人品包含道德操守、文化涵养、才情风度三个方面内容,并在多读书、多探奇山水中获得。第三章,创作论。李日华指出创作主体要具备“虚静”的心态,这种虚静重在平时,在生活的态度与人格的修养,而非仅指创作时的片刻沉静。其次,绘画要重视构图布置,善“取予”,工“选胜”,做到虚实相生、有无相间。最后,绘画要以达到简淡荒寒的意境为最高追求。第四章,鉴赏论。李日华提出绘画要具备“寄情寓性”的娱乐审美目标,同时不违背“真工实能”的要求,缘情而发,因性而成。他在前人的基础上,提出“形”、“势”、“韵”、“性”四个递进层次的批评标准,以此衡量作品艺术水平的高低。
[Abstract]:The late Ming Dynasty was a time of political corruption, great change of thought, and a prosperous era for the development of culture and art, especially the art of painting. With the prosperity of painting creation practice, painting thought collection is also extremely rich and mature. Li Rihua, as one of the three "museurs" of Dong Qichang and Wang Weijian, is a collection of paintings and calligraphy in the late Ming Dynasty. The aesthetic thoughts embodied in his painting creation and collection activities are worthy of study. Based on his works, this paper expounds his aesthetic thoughts on painting from three aspects: epistemology, creationism and appreciation. Apart from the introduction and conclusion, this paper is divided into four chapters. The introduction introduces the research status, the research value and the research method of the article; the conclusion summarizes Li Rihua's painting thought system. It also points out the characteristics of its collection activities based on the artistic value and historical orientation of the work itself. The first chapter introduces the background of the times and the life of Li Rihua, laying a good foundation for the later analysis of his painting thought. The second chapter examines Li Rihua's understanding of two basic problems of painting, namely, the dialectical relationship between "rhyme" and "law" and the interrelation between "virtue" and "art". In view of the drawback that "the style of taking rhyme" prevailed in the late Ming Dynasty, he suggested that attention should be paid to the trace of "real work, real ability", division of ancient times and nature, "taking rhyme" on the basis of mastering professional modeling techniques skillfully. To achieve the harmonious unity of "rhyme" and "law" in painting structure. Through the discussion of "virtue" and "art", we draw the conclusion that character determines painting. He said that moral integrity, cultural integrity, talent and demeanor three aspects, and read more, explore the mountains and rivers. The third chapter, creation theory. Li Rihua pointed out that the creative subject should have the mentality of "empty and quiet", which emphasizes the attitude of life and the accomplishment of personality in peacetime, rather than just a moment of stillness at the time of creation. Secondly, painting should pay attention to composition layout, good "take", work "win", so that the void and reality, with or without. Finally, painting should reach the artistic conception of simplicity and desolation as the highest pursuit. Chapter four, appreciation theory. Li Rihua put forward that painting should have the entertainment aesthetic goal of "sending feelings and combining feelings", and at the same time, it did not violate the requirements of "real work and real ability". On the basis of his predecessors, he put forward four progressive standards of criticism, namely "form", "potential", "rhyme" and "sex", so as to measure the artistic level of his works.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J201

【参考文献】