阴山山脉在山水画中的艺术表现与探索

发布时间：2018-05-27 22:05

本文选题：阴山山脉 + 山水画　；参考：《内蒙古大学》2013年硕士论文

【摘要】：一方水土养一方人,一方山水滋养一方画家,反过来,一方画家也有责任表现一方山水。雄伟壮丽的阴山山脉是从内蒙古自治区巴彦淖尔境内的狼山以东到河北省张家口西北部,阴山山脉包括狼山、乌拉山、大青山等。其中以大青山最为峻美多姿。阴山山脉从内蒙古自治区中部的包头到中东部的乌兰察布以西分为两段,包头东到呼和浩特以西萨拉齐境内为大青山的九峰山段,它是阴山山脉最为代表性的山体,群峰耸立,幽涧鸣泉。萨拉齐以东的呼和浩特地区为大青山东段,大青山山地地形特点是南坡山势峻峭,树木稀少,山地落差大,沟内湿润。北坡平缓,长满了各种杂树,包括：杉树、白杨、白桦、油松等。阴山一带自古以来就是一个多民族杂居的地方。在此繁衍生息的古代北方游牧民族有匈奴、敕勒、柔然、鲜卑、蒙古等。他们喝着黄河水、骑着草原马,在这美丽富绕的阴山脚下创造了辉煌灿烂的阴山文化。如何在山水画中对阴山山脉进行艺术表现是笔者长期以来一直致力的课题。为此,本人长期深入阴山山脉的大青山、九峰山等地考察写生,完成画稿无数,从中感受它的雄伟、崇高、厚重和苍凉,比较它的四季变幻和寒暖阴晴。阴山山脉不同于南岳衡山和北岳恒山,更不同于秀美的黄山和险峻的华山,它自有它的容貌、它的性格和它独有的魅力。表现它,也应有不同的绘画形式和不同的绘画语言。中国的山水画传统深厚,博大精深,无论南派还是北派都自成体系,达到了极高的境界。古人强调师造化,今人强调对景写生,无论古人还是今人,都强调面对大自然表现独特感受,形成自身面貌。为阴山传神写照,也应探索出一条与阴山个性相适应的路子来。我深信这种探索是十分有益的,它必将为内蒙古山水画的繁荣和发展贡献一己的微薄之力。本文从阴山山脉的地貌特征出发,结合内蒙古地区山水画家的创作成果和自身的绘画实践,理论联系实际地从审美的角度和学理的层面探索阴山山脉的艺术表现,这种探索不仅有助于拓展中国山水画的创作题材和创作领域,而且对丰富中国山水画的技法和理论也有参考价值。
[Abstract]:A side of water and soil, one side of the landscape nourishes one side of the painter, in turn, one side of the painter also has the responsibility to represent one side of the landscape. The majestic Yinshan Mountains are from the east of Langshan in Bayan Nur, Inner Mongolia Autonomous region, to the northwest of Zhangjiakou, Hebei Province. Among them, Daqingshan is the steepest and most beautiful. The Yinshan Mountains are divided into two sections from Baotou in the central Inner Mongolia Autonomous region to the west of Wulanchabu in the central part of the Inner Mongolia Autonomous region. From Baotou to Salaqi to the west of Hohhot, it is the Jiufengshan section of the Daqingshan Mountains. It is the most representative mountain in the Yinshan Mountains. A quiet stream sings a spring. The eastern part of Daqingshan is the Hohhot region east of Saraqi. The mountain terrain of Daqingshan is characterized by steep south slope, sparse trees, large mountain drop, and humid gully. The north slope is smooth, covered with all kinds of mixed trees, including: Chinese fir, poplar, Bai Hua, Pinus tabulaeformis and so on. The Yinshan area has been a multiracial place since ancient times. The ancient northern nomads who lived here included Huns, royal lords, Rouran, Xianbei, Mongolia, and so on. Drinking the Yellow River and riding the steppe horses, they created a splendid Yinshan culture at the foot of the beautiful and rich Yinshan Mountains. How to express the Yinshan mountain range in landscape painting is a long-term task that the author has been working on for a long time. For this reason, I have long gone deep into Daqing Mountain, Jiufeng Mountain and other places of Yin-shan Mountains, completed numerous sketches, felt its majesty, sublime, heavy and desolate, and compared its changing seasons and cold warm Yin and clear. The Yinshan mountain range is different from the Hengshan Mountain of Nanyue and the Hengshan Mountain of the Northern Yue, but also different from the beautiful Huangshan Mountain and the precipitous Huashan Mountain. It has its own features, its character and its unique charm. Show it, also should have different painting form and different painting language. Chinese landscape painting tradition is profound, broad and profound, whether the south or the north into their own system, reached a very high level. The ancients stressed the division of creativity, modern people emphasize the painting of the scene, both the ancients and modern people, they all stressed the unique feelings of facing nature, forming their own appearance. For Yinshan to portray the spirit, should also explore a way to adapt to Yinshan personality. I am convinced that this exploration is very beneficial, it will contribute to the prosperity and development of Inner Mongolia landscape painting a modest contribution. Based on the geomorphological features of the Yinshan Mountains, combined with the artistic achievements of the landscape painters in Inner Mongolia and their own painting practice, this paper explores the artistic expression of the Yinshan Mountains from the angle of aesthetics and theory. This exploration not only helps to expand the subject matter and field of Chinese landscape painting, but also has reference value to enrich the techniques and theories of Chinese landscape painting.
【学位授予单位】：内蒙古大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】