石涛山水画写生观探析

发布时间：2018-06-02 22:27

本文选题：石涛 + 写生观　；参考：《浙江师范大学》2013年硕士论文

【摘要】：石涛是明末清初最富独创性的画家、理论家。他在一生的绘画实践中,始终坚持在继承古人优秀传统的基础上,注重“师造化”；他认为生活是绘画创作的源泉。经过其数十年饱览名山大川的经验,在自己绘画实践的基础上感悟着深刻的艺术思想,书写了著名的绘画美学著作《画语录》,提出了“神遇迹化”、“无法而法”、“搜尽奇峰打草稿”等写生观理论。为当时明末清初中国绘画所处的技法定型、师法古人的学术氛围注入了新鲜的血液,为中国画找到了出路和方向。他的绘画理论受到后代书画家的高度推崇,对后世产生了重要影响。本文通过四个章节尽量全面、系统的对石涛写生观的绘画美学思想进行梳理与解读。第一章简略地介绍了石涛一生颠沛流离的生活及其所处的明末清初摹古之风盛行的文化背景。第二章主要论述了石涛写生观的基本概念。首先对写生的定义做了简单的介绍,然后研究分析中国历代绘画理论家的师古人与师造化相结合的写生观,以及中国与西方写生观的异同。本章还通过对石涛的“一画”论、“蒙养”、“生活”以及“神遇迹化”的论述来阐明基本的写生概念。石涛的画论以“一画”为内核,阐述了自然万物与绘画的关系、画家主体与客观物象的关系,要理解石涛写生的绘画美学观念就必须从“一画”论入手,了解“一画”论的认识法则。而“蒙养”与“生活”又是“一画”论范畴下最重要的两个美学概念,所以本章从“蒙养”与“生活”两个概念出发,解读它们与写生的关系。石涛不仅主张画家绘画要尊重客观自然,以自然山水为蓝本,提出“搜尽奇峰打草稿”的写生理念,而且认为在此基础上画家应该在其作品中融入自身的情感,传达自己的审美情感和审美趋向；进而提出“山川与予神遇而迹化”的绘画写生主张。他在自身的绘画中也是用这些写生观来推敲画面组成的合理性,用师法自然的方法来概括、总结意象,继而进行绘画创作。第三章主要是从石涛《画语录》中所提到的“尊受”、“笔墨”以及“皴法”上对石涛的写生观做了一个具体的探析。基于前面三个章节的分析,第四章论述了石涛写生观的影响,既有他自己对写生观的创作实践,又有其对后世深远的影响和启示。本文通过客观、全面地分析石涛写生观,力求可以对当代中国山水画家理解古代“写生”概念以及绘画实践起到积极的作用。
[Abstract]:Shi Tao is the most original painter and theorist in late Ming and early Qing Dynasty. In his life of painting practice, he always insisted on inheriting the ancients' excellent tradition and paid attention to "teacher's creation", and he believed that life was the source of painting creation. After several decades of experience of enjoying famous mountains and great rivers, and on the basis of his own painting practice, he realized the profound artistic thought, wrote the famous painting aesthetic work "drawing quotation", and put forward "God meets the trace" and "can't do it". "search Qifeng draft" and other sketches theory. For the Chinese painting at the end of the Ming Dynasty and the beginning of Qing Dynasty, the ancient academic atmosphere injected fresh blood, and found a way out and direction for Chinese painting. His painting theory was highly respected by future generations of calligraphers and had an important impact on later generations. This article through four chapters as comprehensive as possible, the system of Shi Tao sketching view of painting aesthetic thought combing and interpretation. The first chapter briefly introduces Shi Tao's life of wandering and the cultural background of imitating the ancient style in the late Ming and early Qing dynasties. The second chapter mainly discusses the basic concept of Shi Tao's sketch view. First of all, the definition of sketch is introduced, and then the author studies and analyzes the Chinese painting theorists' view of sketching which combines ancient Chinese painting theorists with division painting, and the similarities and differences between Chinese and western painting views. This chapter also expounds the basic concept of sketching through the discussion of Shi Tao's "one painting" theory, "Mengyang", "Life" and "God meets the trace". Shi Tao's painting theory takes "one painting" as the core, and expounds the relationship between nature and painting, the relationship between the painter's subject and the objective object image. In order to understand Shi Tao's painting aesthetic concept, we must start with the "one painting" theory. Understand the rules of understanding of the theory of "one painting". "Mengyang" and "Life" are the two most important aesthetic concepts under the category of "one painting", so this chapter interprets the relationship between them and sketches from the two concepts of "Mengyang" and "Life". Shi Tao not only advocated that painters should respect the objective nature in their paintings, based on natural landscapes and rivers, and put forward the sketch idea of "searching Qifeng and typing drafts," but also believed that on this basis the painter should incorporate his own feelings into his works. Convey his own aesthetic feelings and aesthetic trend, and then put forward "mountains and rivers and God meet and trace" painting sketching proposition. In his own painting, he also uses these sketches to examine the rationality of the composition of the picture, generalizes and sums up the images with the natural method of teaching, and then creates paintings. The third chapter makes a concrete analysis of Shi Tao's sketch view from Shi Tao's quotation of painting, such as "respecting receiving", "pen and ink" and "chapping method". Based on the analysis of the previous three chapters, the fourth chapter discusses the influence of Shi Tao's view on sketching, not only his own writing practice, but also his profound influence and enlightenment on later generations. Through the objective and comprehensive analysis of Shi Tao's concept of sketching, this paper tries to play a positive role in understanding the concept of "sketching" and painting practice in contemporary Chinese landscape painters.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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