丁衍庸：艺术道学与极致追求

发布时间：2018-05-24 22:11

本文选题：丁衍庸 + 艺术道学　；参考：《广州美术学院》2017年硕士论文

【摘要】：丁衍庸(1904-1978),我国现代卓有成就的国画大家,上世纪七、八十年代就饮誉海外。但是因为他1949年移居香港,30年间与大陆一直处于隔绝状态,现在的大陆学人对衍庸所知甚少。20年来,主要是港台学者和个别海外学者对丁衍庸进行了初步的评介和研究,学界对丁衍庸的生平节点和走过的艺术道路的研究较多,但是画家研究、尤其是画家思想、画家的世界观和艺术观的研究显得十分不足,画家形象还没有树立起来。例如,有人说丁衍庸是继承八大山人艺术最全面的画家(朗绍君语),但是,他与八大山人的思想与艺术的关系,学界仍然模糊,香港学者某些观点还有待商榷。要打开丁衍庸研究的局面,画家研究亟待先行,本文则尝试致力于此。本文研究发现:第一,丁衍庸是一个传统的文人。指导着丁衍庸终生事业的艺术思想是他经过了长期实践和思考而形成的“艺术道学”。艺术道学源自易学的“道”“器”关系学说,它的核心是充分挖掘画家的潜能,彻底放纵画家的个性,致力于艺术的创新,追求个性艺术的极致。为了达到这一境界,丁衍庸认为,艺术家应该多变、勤学、“无关心”(无为)、“复归于原始”。在丁衍庸自己的文章中,这一思想表露得比较分散和隐晦,以至于至今还没有被人发现。第二,“艺术道学”正是丁衍庸与八大山人、徐渭等明清大写意画家以及西方近代野兽派画家马蒂斯等人的思想与艺术交会之处。在艺术道学指导之下,丁衍庸对八大山人等人的艺术思想和创新精神作了激情洋溢的赞誉和说明,而且匠心独运,将写意艺术推进到从“变形”到“无形”,最后“再造形”的、画家个性和绘画艺术结合无痕的新的境界,创造了大批独具丁衍庸风格的艺术形象,从思想上和艺术上都有所突破和创新。第三,丁衍庸的艺术,诗、书、画、印四样俱全,丁衍庸的画,人物、山水、花鸟三门无一不精。丁衍庸除了建立了他的艺术道学思想和实现了大写意艺术的突破以外,他还把包含有香港文化元素的现代美术元素和平民元素带进了文人画,开辟了文人画大众化的新道路。丁衍庸艺术最大的遗憾在于画家长期拘于香港一隅,失去了民族文化腹地的依托,丁衍庸作品主要出于文人画室,不能进入社会主流,他的画笔最后定格在文人画家和休闲画家的地位上。
[Abstract]:Ding Yanyong, 1904-1978, China's modern and successful traditional Chinese painting people, last century, 70's, 80's to drink overseas reputation. However, because he moved to Hong Kong in 1949 and remained isolated from the mainland for 30 years, the mainland scholars now know very little about Yong Yan. In the past 20 years, it has been mainly Hong Kong and Taiwan scholars and individual overseas scholars who have made preliminary comments and studies on Ding Yanyong. There are many studies on the life of Ding Yanyong and the art road taken by the scholars, but the study of painters, especially the painter's thought, the painter's world outlook and the art view, is very insufficient, and the artist's image has not been established yet. For example, some people say that Ding Yanyong is the most comprehensive painter who inherits the art of the eight great mountain people (long Shaojun's speech), but the relationship between his thought and art is still vague in academic circles, and some views of Hong Kong scholars are still open to question. In order to open up the situation of Ding Yanyong research, painters' research is urgently needed, and this paper tries to devote itself to it. First, Ding Yanyong is a traditional scholar. The art thought guiding Ding Yanyong's lifelong career is the art Taoism formed by his long-term practice and thinking. Art Daoism originates from the theory of "Tao" and "instrument", whose core is to fully tap the potential of the painter, indulge the artist's individuality, devote himself to the innovation of art, and pursue the extreme of individual art. In order to achieve this, Ding Yanyong believes that artists should be changeable, diligent, "unconcerned," return to the original. " In Ding Yanyong's own article, the idea is so diffuse and obscure that it has not been discovered. Secondly, "Art Daoism" is exactly where the ideas and art of Ding Yanyong and Bada Shan people, Xu Wei and other Ming and Qing Dynasty freehand brushwork artists and Matisse, the western modern Beast painters, are intersected. Under the guidance of Art Daoism, Ding Yanyong praised and explained the artistic thought and innovative spirit of the eight great mountain people with passion, and was ingenious, pushing the art of freehand brushwork from "transformation" to "invisible". Finally, with the combination of painters' personality and painting art, a large number of unique artistic images with Ding Yanyong style have been created, which have made a breakthrough and innovation in thought and art. Third, Ding Yanyong's art, poetry, book, painting, printing, Ding Yanyong's paintings, characters, landscapes, flowers and birds. Ding Yanyong not only established his artistic Taoism thought and realized the breakthrough of freehand brushwork art but also brought modern art elements and civilian elements including Hong Kong cultural elements into literati paintings and opened up a new way for the popularization of literati painting. The greatest regret of Ding Yanyong art lies in the fact that the painter has been confined to a corner of Hong Kong for a long time and has lost the backing of the hinterland of national culture. Ding Yanyong's works mainly come from the literary studio and cannot enter the mainstream of society. His brushes were finally settled on the status of literati and leisure painters.
【学位授予单位】：广州美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

【参考文献】