浅析傅抱石的山水画皴法

发布时间：2018-05-20 17:13

本文选题：傅抱石 + 山水画　；参考：《浙江师范大学》2016年硕士论文

【摘要】：对于傅抱石其人,许多人是因为他曾经为人民大会堂创作了著名的《江山如此多娇》而知道他,还有一些人是因为他的作品《丽人行》在拍卖市场创下了千万元的成交记录而了解他,但真正对于他在美术史论方面的研究,以及他的绘画创作成就却知之者甚少。傅抱石最初以史论研究而著名,他的美术史论研究详细而透彻,从他第一本对中国绘画历史研究的著作开始,他的一生大约写了一百五十余篇(本)美术论著,达两百万字之多。这数字即使对一个专门的理论研究工作者来说,也是很可观的。而他每天还要作画,即使在病中也从未放下过画笔,他的一生共画过两千多张国画,在绘画之余能完成这样大量的文字工作,其勤奋治学和刻苦钻研的精神,实在不能不使人衷心敬佩。傅抱石先生作为一位大画家,而在理论著作方面又有如此建树,这在美术史上是十分罕见的。相较于他在史论方面的成就,他的绘画成就则更令人赞叹。他年轻时对传统中国画的学习,非但没有使他被传统的中国山水画所束缚,反而成为了他创新创造的坚实积淀。正是因为他对传统的深入研究和摹写,他对中国文人画的推崇,才有了他独有的“抱石皴”。在他的《壬午重庆画展自序》中,他详细地剖析了自己的作品,介绍了作画动机、根据、创作意图和创作方法。从选题、构图、腹稿、初稿,一直到落笔创作,包括整个作画过程中的想法,他风趣地提出：“文人画”三字,为中国画的三原则,文指文学上的修养,人指高尚的人格,画指画家的绘画技巧。他说这三原则同时也是中国画的基本精神,这三者缺一不可。他认为“一幅画就应该像一首诗、一阙歌或一篇散文”,作画不是玩弄技巧而应从画的主旨表现出发,再考虑工具材料等,力求达到完美的效果。最令人佩服的,是他主张中国画必须“变”,也就是中国画要创新、革新的问题。他说“中国画要‘变’,毫无疑问”。他的一生都处于不断地创作追求中,他不断地促进中国画的“变”,变得更新、更“动”、更有生命力。傅抱石的这种主张和实践也正是后来他的绘画对后世画坛起着重要影响的根本原因。
[Abstract]:As for Fu Baoshi, many people know him because he wrote the famous "so much of Jiangshan" for the Great Hall of the People, Others know him because of his work, the Beauty Trail, which has set a record of tens of millions of dollars in the auction market, but very little is known about his research in art history and his achievements in painting creation. Fu Baoshi was first famous for his historical studies. His art theory was detailed and thorough. From his first book on the history of Chinese painting, he wrote about 150 works of fine arts in his life. As many as 2 million words. This figure is considerable even for a dedicated theoretical researcher. And he still has to paint every day. Even in his illness, he has never put down his brush. In his life, he has painted more than 2,000 Chinese paintings. He can finish such a large amount of writing work after drawing, and his spirit of hard work and hard work in studying and studying hard. I can't help but admire it from the bottom of my heart. It is rare in art history for Mr Fu Baoshi to be a great painter and to do so in theoretical works. His achievements in painting are more impressive than his achievements in historical theory. When he was young, his study of traditional Chinese painting not only did not bind him to the traditional Chinese landscape painting, but became a solid accumulation of his innovation and creation. It is because of his in-depth study and description of tradition, his praise of Chinese literati painting, that he has his unique "Bao Shi chan". In his "preface to Chongqing painting Exhibition", he analyzes his works in detail, introduces the motive, basis, intention and method of painting. From topic selection, composition, ventrilograph, first draft, all the way to writing and writing, including the idea of the whole painting process, he put forward wittingly: "literati painting" is the three principles of Chinese painting, the text refers to literary accomplishment, and man refers to noble personality. Painting refers to a painter's skill in painting. He said that these three principles are also the basic spirit of Chinese painting, which are indispensable. He thinks that "a painting should be like a poem, a song or an essay". Instead of playing with techniques, one should proceed from the main purpose of the painting, and then consider the materials of tools to achieve a perfect effect. The most admirable thing is that he advocates that Chinese painting must be changed, that is, Chinese painting should be innovated and innovated. He said, "Chinese painting is going to change, there is no doubt about it." His whole life is in the constant creation pursue, he unceasingly promotes the Chinese painting "the change", becomes the renewal, "moves", has the vitality. This idea and practice of Fu Baoshi is also the fundamental reason why his painting plays an important role in later generations.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212

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