张仃焦墨山水画研究

发布时间：2018-06-26 03:12

本文选题：张仃 + 焦墨山水画　；参考：《河南师范大学》2014年硕士论文

【摘要】：焦墨山水作为一个新的绘画门类，最早可以追溯至清代的程邃，但从完整的意义上讲，程邃还不是一个纯粹的焦墨山水画家，因为他用的是渴笔淡墨。近代的黄宾虹画了很多焦墨山水的册页，大多是写意，非常精彩。而真正把焦墨山水画推向顶峰的是张仃。焦墨本是一种传统的绘画方法，古人常用焦墨来表现物象的轮廓，或用焦墨来醒目，而张仃纯用焦墨来进行山水画写生。使它成为一种独特的山水画形式，让人为之震撼。张仃先生从70年代开始焦墨写生，经过近30年的实践与探索，成为焦墨山水画的突出代表。张仃无数次的深入太行山，他的焦墨山水画，主要刻画的是北方的太行山，用笔苍劲，形成了雄健的绘画风格。张仃先生的焦墨山水画造型实、重笔墨、气感强。自明清以来，中国画便少了北派山水的雄强与坚硬。而变得温和、平缓。张仃先生来自北方，更深爱着北方的土地，并且通过对北方大山的大量实地写生，，重新崛起了风骨雄健坚硬的北派山水，唤起了雄强艺术传统的回归。对中国山水画的发展具有重大的意义。张仃把自己的家园意识、人文情怀、和个人的英雄主义气质融入了他的山水画中。张仃的焦墨山水画在两个方面有所创新，创造了独具个人风格的焦墨山水画。首先是写生，张仃的焦墨山水画是以写生作为桥梁的，张仃把写生的东西与传统的山水画相结合。因为到了明清以后，中国画由于脱离了生活而变得更加抽象化、精神化。没有与大自然的接触，生活的气息越来越淡，没有生气，没有灵性。然而张仃一反常态，通过写生来改造中国画，并且在这方面做的得更加扎实和彻底。张仃写生的足迹遍布祖国的大江南北，通过写生把焦墨纯化、发展到一个极致，这样就给自己出了一个难题，这道题要下更大的功夫。北宋以前，线条是山水画的主要表现形式，张仃又回到了这条道路上来。张仃焦墨山水画的雄健和风骨，是与他所运用的焦墨和线条分不开的。其次是张仃对自然的态度不是传统的，而是把传统与西方的一些绘画技法向结合，例如他的山水画皴法不师某家某派，而是以自然物象为参考对象来施以皴擦。再例如他把西画的透视方法运用到写生中，从而创造了属于自己的焦墨山水画。本文主要分四个章节来研究张仃的焦墨山水画：第一、对张仃焦墨山水画的形成因素进行剖析，从而得出形成其焦墨山水画的因素主要有社会政治原因、个人阅历，更重要的是师造化。第二、对具体作品进行分析，从而展开张仃焦墨山水画的笔法特征演变历程的研究，从勾勒皴擦几方面对张仃各个时期的焦墨作品进行分析研究。第三、对张仃焦墨山水画所体现的意境进行剖析，从具体作品分析得出：张仃的焦墨山水画中蕴涵深刻的人文意境以及玄素纯净的审美意境。第四、主要分析张仃焦墨山水画给后人的启示。通过以上几部分的研究，对张仃的焦墨山水画有了一个整体的理解。张仃对焦墨山水的探索与成就，是对中国山水画的创新与贡献，使山水画的笔墨形式更加丰富。焦墨山水虽然不是始于张仃，但张仃对焦墨山水的探索力度之深却是前无古人的，他的焦墨山水更是以大幅壁画的形式展现给观众，张仃的焦墨山水是20世纪中国美术界的一大奇观。是值得我们用心研究并学习的领域。
[Abstract]:As a new painting category, the coke and ink landscape can be traced back to the distance of the Qing Dynasty, but in a complete sense, Cheng is not a pure Chinese painter of the Chinese painting, because he used the pen and ink. The modern Huang Binhong painted a lot of the pages of the coke and ink landscape. To the peak is Zhang Ding. The coke ink is a traditional painting method. The ancient people used the coking ink to show the outline of the image, or use the coke to wake up, and Zhang Dingchun used the coking ink to make the landscape painting. It made it a unique form of landscape painting and made it shocking. Mr. Zhang Ding began to write the coke in 70s, after nearly 30 years of reality. Practice and exploration have become the outstanding representative of the painting of the painting of the coke and landscape painting. Zhang Ding has gone into Taihang Mountain innumerable times, his painting of the Chinese painting of coke, mainly depicting the Taihang Mountain in the north, has formed a vigorous style of painting. Mr. Zhang Ding's painting is solid, heavy and strong. Since the Ming and Qing Dynasties, Chinese painting has reduced the male landscape of the north school. Strong and hard, and becoming gentle and gentle. Mr. Zhang Ding came from the north, deeply loved the land of the north, and through a large number of field sketches to the North Dashan, he reemerged the strong and rigid northern landscape of the north school, aroused the return of the strong artistic tradition of the male, and was of great significance to the development of Chinese landscape painting. Consciousness, humanistic feelings, and the heroic temperament of individual into his landscape painting. Zhang Ding's coke and ink landscape painting has been innovated in two aspects, creating a unique personal style of the Chinese painting. First, the painting of Zhang Ding's painting is based on the bridge, and Zhang Ding combines the sketches with the traditional landscape painting. Since the beginning of the Ming and Qing Dynasties, Chinese paintings have become more abstract and spiritual because of their separation from life. Without contact with nature, the breath of life is becoming more and more weak, unanimate and spiritualism. However, Zhang Ding has been remolding Chinese painting by writing his life and making a more solid and thorough study of Zhang Ding's life. In the great rivers and south of the motherland, it has been developed to an extreme through the purification of the coking ink through the sketch. This gives himself a difficult problem, and this question must be more difficult. Before the Northern Song Dynasty, the lines were the main manifestation of the landscape painting, and Zhang Ding returned to the road. The other is that Zhang Ding's attitude to nature is not a traditional one, but a combination of traditional and Western painting techniques, such as his landscape painting without a certain school, but a natural object for reference. This paper belongs to his own painting of the coke and landscape painting. This article is mainly divided into four chapters to study the coke and ink landscape painting of Zhang Ding. First, the factors of the formation of Zhang Ding's landscape painting are analyzed, so that the factors of forming its coke and landscape paintings are mainly social and political reasons, personal experience, and more important is the division of the painting. Second, the specific works are divided into three parts. The study of the evolution of the writing characteristics of Zhang Ding Mo painting landscape painting, from the outline of a few sides of the chapped brush to face the analysis and study of the work of the coke in each period of Zhang Ding. Third, to analyze the artistic conception embodied in Zhang Ding's landscape painting, from the analysis of specific works: the profound humanistic artistic conception in Zhang Ding's painting of the painting of the coke and the landscape. As well as the aesthetic artistic conception of metaphysic purity. Fourth, it mainly analyzes the inspiration of Zhang Ding Mo painting to the future generations. Through the study of the above parts, it has a whole understanding of Zhang Ding's painting of the Chinese landscape painting. The exploration and achievement of Zhang Ding's landscape of the Chinese landscape painting is the innovation and contribution to the Chinese landscape painting, and the style of the landscape painting is more rich. Although the coke and ink landscape does not begin with Zhang Ding, the depth of Zhang Ding's exploration of the coke and ink landscape is unprecedented, and his coke and ink landscape is shown to the audience in the form of large mural painting. Zhang Ding's Chinese painting is a great spectacle of the Chinese Fine Arts in the twentieth Century. It is a field worth studying and studying in our heart.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】