意境静谧水墨华滋—龚贤山水画中现代意识的研究

发布时间：2018-06-25 20:38

本文选题：山水画 + 龚贤　；参考：《山东建筑大学》2014年硕士论文

【摘要】：明末清初的中国画坛,特别是山水画,是以崇尚古人、光复宋元笔意为主流。到了清代,由于外族入侵中原,中原汉族文化了严重冲击。其中,一部分明代官宦后裔与文人现则隐居山林,以文学艺术的形式宣泄着对外族统治的不满。另一部分文人画家择选效力于朝廷,他们的地位成为当时不能撼动的权威。龚贤,这位生活在明末清初的艺术巨匠,在当时是独树一帜的画家。他没有去迎合当时一味的模仿古人、缺乏自然气息的“仿古画”。相反的,在他归隐山林的几十年里,他学古而不拟古,在学习宋元画家的基础上更加丰富了用墨的技法,他对的积墨法的运用继承了古人的精髓,形成了自己独特的笔墨语言。他的绘画造型,是他在归隐山林的几十年里,对自然的物象归纳出了自己独特的造型符号。这种符号化的艺术表达语言也是中国山水画中“程式化”语言的表现。他所描绘的大多是金陵一带的地貌特点,南方的水汽和丘壑的地貌特征是他创作的主要题材,并且在龚贤的画面上被发挥得淋漓尽致。龚贤的山水画特别是在积墨法上的运用,在中国绘画史上起着承前启后的作用,他不仅对前人的用墨技法做了充分的学习和总结,而且对以后的画家特别是近代的山水画家产生了重要的影响。本文主要从龚贤的绘画技法、绘画艺术语言和表达的特殊意境角度来阐释龚贤作为明末清初的山水画家在绘画史上所起到的重要作用。并且从“艺术符号学”的角度,去尝试解读龚贤的绘画中所产生的“现代美”对近现代画家所产生的影响。
[Abstract]:In the late Ming and early Qing dynasties, Chinese painting, especially landscape painting, was dominated by advocating the ancients and restoring the pen meaning of Song and Yuan dynasties. In the Qing Dynasty, due to foreign invasion of the Central Plains, the Han culture of the Central Plains had a serious impact. Among them, some of the descendants of officials and literati in the Ming Dynasty lived in seclusion in the mountains, expressing their dissatisfaction with the alien rule in the form of literature and art. Another group of literati painters chose to serve in the court, their position became an unshakable authority. Gong Xian, an art magnate who lived in the late Ming and early Qing dynasties, was a unique painter at that time. He did not cater to the imitation of the ancients, the lack of natural flavor of the "antique painting." On the contrary, in the decades of his returning to Shanlin, he learned the ancient but not the ancient, on the basis of learning the Song and Yuan painters, he enriched the technique of using ink, his application of the accumulation of ink inherited the essence of the ancients, and formed his own unique language of pen and ink. His painting modeling, in the past decades, he summed up the natural image of his own unique modeling symbols. This symbolic artistic expression language is also the expression of "stylized" language in Chinese landscape painting. Most of what he describes is the geomorphological features of Jinling, the southern water vapor and the geomorphologic features of Qiu Hsi are the main themes of his creation, and they are displayed incisively and vividly in Gong Xian's pictures. Gong Xian's landscape painting, especially its application in ink accumulation, plays an important role in the history of Chinese painting. And later painters, especially the modern landscape painters had an important impact. This article mainly from Gong Xian's painting technique, the painting artistic language and the expression special artistic conception angle to explain Gong Xian's important function in the painting history as the late Ming and the early Qing Dynasty landscape painter. And from the angle of "art semiotics", it tries to interpret the influence of "modern beauty" in Gong Xian's paintings on modern painters.
【学位授予单位】：山东建筑大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】

意境静谧 水墨华滋—龚贤山水画中现代意识的研究

意境静谧水墨华滋—龚贤山水画中现代意识的研究