“气韵生动”对中国传统绘画审美标准的影响

发布时间：2018-05-25 08:13

本文选题：气韵生动 + 传统绘画　；参考：《郑州大学》2013年硕士论文

【摘要】：“六法”作为指导中国画创作和审美的最高法则,对其后中国绘画的审美标准和审美取向产生了极其深远的影响。论文以“六法”的核心“气韵生动”为契入口,对气韵生动发生的社会背景、理论和思想基础、以及“气”、“韵”的含义和产生过程作出相应的探究和论述；并对“气韵生动”和“六法”的关系、“气韵生动”的具体含义、理解角度,以及其后历代画家和绘画理论家对其的继承、发展进行了全面的探讨。文中认为“气韵生动”所产生的理论和思想基础无疑绕不过当时的社会背景和传统的“老庄玄学”的影响,这其中包括了 “道”、“玄”、“素”、虚实、有无,“得意忘象”等一系列的审美现象和审美意趣。在随后的封建社会的各个时期,当时的审美取向和绘画理论都无一例外的受到了“气韵生动”这一核心法则的影响,例如“吴带当风”、“万类由心”、“意在笔先”、“画尽意在”等审美意象的提出,都是对“气韵生动”的继承和发展,也是“气韵生动”的践行者和体现者。“气韵生动”也为宋元以后文人画的大行其道,并最终成为中国绘画的主流、占据大半壁江山提供了理论依据和思想源头,其影响延绵至今。然而,自苏轼开始的文人画家在极力追求“气韵生动”的同时,弱化了其它五法,使得“六法”这一审美体系出现了欠缺。味追求神韵、逸气的绘画理论占据中国画坛的主宰地位,导致了中国绘画发展偏离了传统写实观念的审美追求,也导致其后数百年间中国绘画病态前行,逐渐处于一种令人感觉缺憾和尴尬的状态；直至“西学东渐”和其它姊妹艺术的介入和融合,人们对于形神关系的认识,对于“气韵生动”和其他五法这一辨证的审美体系逐渐得到系统的、全面的继承和发展。
[Abstract]:As the supreme rule to guide the creation and appreciation of Chinese painting, the "six methods" had a profound influence on the aesthetic standards and aesthetic orientation of Chinese painting. Taking the core of "six methods" as the entrance, the paper explores and discusses the social background, theory and ideological basis, the meaning and production process of "qi" and "rhyme". The relationship between "vivid charm" and "six methods", the concrete meaning of "vivid charm", the angle of understanding, and the inheritance and development of it by painters and painting theorists in successive dynasties are discussed in an all-round way. The paper holds that the theoretical and ideological basis of "vivid charm" can no doubt go around the social background at that time and the influence of the traditional "Laozhuang metaphysics", which includes: Tao, Xuan, Suk, vanity, have or not, and so on a series of aesthetic phenomena and aesthetic interest. In the various periods of feudal society that followed, the aesthetic orientation and painting theory at that time were all influenced by the core principle of "vivid charm", such as "Wu belt as the wind", "everything from the heart", "meaning before the pen". The putting forward of aesthetic image such as "painting with the best intention" is the inheritance and development of "vivid charm", and it is also the practitioner and embodiment of "vivid charm". "lively charm" also became the main trend of literati painting after Song and Yuan dynasties, and eventually became the mainstream of Chinese painting, which provided the theoretical basis and ideological source for most of the Chinese paintings, and its influence has been extended to this day. However, the literati painters who started from Su Shi tried their best to pursue "vivid charm" and weakened the other five methods, which made the aesthetic system of "six methods" appear deficient. The theory of taste and charm occupies the dominant position in the Chinese painting world, which leads to the development of Chinese painting deviating from the aesthetic pursuit of the traditional realistic concept and leading to the morbid advance of Chinese painting in the following hundreds of years. Gradually in a state of imperfection and embarrassment; until the involvement and integration of "Western learning to the east" and other sister arts, people's understanding of the relationship between form and spirit, The dialectical aesthetic system of "vivid charm" and other five methods has been inherited and developed in a systematic and comprehensive way.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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