浅析两宋时期中国山水画的意境表现之对比

发布时间：2018-05-17 10:01

本文选题：空间 + 构图法则　；参考：《曲阜师范大学》2013年硕士论文

【摘要】：在中国山水画的发展史上，宋代的山水画发展无疑是一个高峰时期，画家的审美情趣和艺术理想在这一时代展现的淋漓尽致，是山水画发展史上的里程碑。无论是从其空间布局、构图特点以及笔墨风格等方面都充分的突显出了其高度娴熟的技法和风格鲜明的意境特征。山水画意境表现形成的每一个过程，都在产生着各种社会、生活、历史形态的演变和发展，南北两宋山水画在绘画风格和意境营造方面的区别也在这样的历史背景下日渐明显。宋代的山水画是山水画创作的一个重要时期，它的许多绘画风格的演变、绘画理论的提出以及在绘画技法和笔墨运用上都为以后的山水画创作做出了突出的贡献。本文结合相关的画家及其代表作品中意境表现方面的完美诠释，从南北两宋山水画的空间、构图法则，笔墨风格等方面作一下对比，深度剖析南北两宋在意境美表现上的真谛。本文的主要内容从以下五个方面来分析。首先，对宋代山水画的发展及意境的概念性特征做一个概括。从北宋到南宋，是一个社会的跨度，一个历史的转变，而在绘画风格上的演变也是在当时社会形态的影响下，人们内心世界的真实写照以及对美好生活的向往，都是其审美理想的美好渲染。其次，具体的从空间、构图和笔墨风格方面分析比较南北两宋的意境表现。北宋的“全景式”山水与南宋的“边角之景”是当时所特有的绘画表现形式。郭熙“三远论”的提出是在空间布局上的重要理论指导。北宋的气势雄壮和南宋的水墨渲染、优美都代表着一个时代的特点以及在传统文化的熏陶下丰厚的文化底蕴。第三，《林泉高致》是山水画的理论著作，郭熙在《林泉高致》中对山水画创作的理论研究是一个价值的体现，也是一个创作、学习经验的总结。第四，朱熹的理学，其重点自然是儒家思想，，南北两宋的审美活动都受到了理学思想的渗透。理学的观念在一定程度上影响着山水画在构图、空间、笔墨运用上的精神风貌。最后，宋代的文人画在近现代社会中产生了一定的影响，同时也引发出了一些探讨和争议，但宋代山水画以至文人画以其高端的艺术形态和审美体现奠定了在中国绘画上的地位和历史价值。关于南北两宋意境的研究，从古至今都是艺术家们感兴趣的课题。20世纪以来，人们更加注重山水画的创作和理论研究，宋代山水画在当时特殊的政治、文化背景的笼罩之下，对大山大水特质的描绘更加深刻，风格特色更加鲜明，是中国传统绘画中的重要力量。文章从一个小的插入点系统的讲述在意境方面的体现和诗、书、画、意的完美结合。最后，结合前人留下的宝贵经验以及相关的书籍资料充分的诠释出山水画创作中美的灵魂—意境。
[Abstract]:In the history of the development of Chinese landscape painting, the development of landscape painting in the Song Dynasty is undoubtedly a peak period. The painters' aesthetic interest and artistic ideal in this era show incisive and incisive, is a milestone in the history of landscape painting development. Whether from its spatial layout, composition characteristics and ink style and other aspects are fully highlighted its highly skilful techniques and distinctive artistic conception characteristics. Each process in which landscape painting artistic conception is formed is producing the evolution and development of all kinds of society, life and historical form. The differences in painting style and artistic conception between the two Song dynasties are becoming more and more obvious in this historical background. Song Dynasty landscape painting is an important period of landscape painting creation, its many painting style evolution, painting theory and in painting techniques and the use of ink and strokes have made outstanding contributions to the future landscape painting creation. This article combines the related painters and their representative works in the artistic conception aspect perfect annotation, from the north and south two Song dynasties landscape painting space, the composition rule, the brush and ink style and so on aspect makes the contrast, deeply analyzes the north and south two Song dynasties in the artistic conception beauty expression true meaning. The main content of this paper from the following five aspects to analyze. First of all, the development and artistic conception of landscape painting in Song Dynasty are summarized. From the Northern Song Dynasty to the Southern Song Dynasty, it is a social span and a historical change, and the evolution of painting style is also the real portrayal of people's inner world and yearning for a better life under the influence of the social formation at that time. It is the beautiful rendering of its aesthetic ideal. Secondly, it analyzes and compares the artistic conception of the two Song dynasties from the aspects of space, composition and ink style. The panoramic landscape of the Northern Song Dynasty and the scene of the Frontier Angle of the Southern Song Dynasty were the unique forms of painting at that time. Guo Xi's "three far Theory" is an important theoretical guide in space layout. The grandeur of the Northern Song Dynasty and the painting rendering of the Southern Song Dynasty represent the characteristics of an era and the rich cultural background under the influence of the traditional culture. Third, "Lin Quan Gao Zhi" is a theoretical work of landscape painting. Guo Xi's theoretical research on landscape painting creation in "Lin Quan Gao Zhi" is a reflection of value and a summary of creation and learning experience. Fourth, the Neo-Confucianism of Zhu Xi, its emphasis is naturally Confucianism, the aesthetic activities of the Northern and Southern Song Dynasty were permeated by Neo-Confucianism thought. To a certain extent, the concept of Neo-Confucianism affects the spiritual features of landscape painting in composition, space and use of pen and ink. Finally, the literati paintings of the Song Dynasty had a certain influence in modern society, and also caused some discussion and controversy. However, landscape painting and literati painting in Song Dynasty have established their position and historical value in Chinese painting with their high artistic form and aesthetic expression. Since the 20th century, people have paid more attention to the creation and theoretical research of landscape painting. The landscape painting of the Song Dynasty was shrouded in the special political and cultural background at that time. It is an important force in Chinese traditional painting to depict the characteristics of Dashan and flood more deeply and with more distinctive style. The article from a small insertion point system of the expression of artistic conception and poetry, books, paintings, the perfect combination of meaning. Finally, combined with the valuable experience left by the predecessors and relevant books fully annotated the soul-artistic conception of beauty in landscape painting creation.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】