龚贤山水画笔墨的研究及其对我山水画创作的影响

发布时间：2018-06-27 13:42

本文选题：笔法 + 墨法　；参考：《广州大学》2013年硕士论文

【摘要】：黄宾虹、李可染皆推崇龚贤，特别是对黑龚画风的继承和发展，在厚与黑中又有独到领悟，在近、现代山水画史上，树立了新的里程碑。本文从学习龚贤山水画的实践出发，深入地对龚贤山水画笔墨的研究，旨在厘清中国山水画中笔墨的发展，感悟其独特的美学价值。龚贤论笔墨别有高处：墨气中见笔法，则墨气始灵；笔法中有墨气，则笔法始活。笔墨非二事也。这是笔墨运用到高级阶段的深刻体会。若古代论者，或曰某家有笔无墨或曰某家有墨无笔的笔墨分治的说法，龚贤予以不取的态度。特别是他开创了浑沦之说，惟笔墨俱妙，而无笔法墨气之分，乃真浑沦矣。道破了中国山水画以特有笔墨表现大自然规律，，由无到有，再由有到无的恍兮惚兮的境界。
[Abstract]:Huang Binhong and Li Keran all admire Gong Xian, especially inheriting and developing the painting style of Heigong, which has a unique understanding in thick and black, and has set a new milestone in the history of modern landscape painting. Starting from the practice of studying Gong Xian's landscape painting, this paper makes a deep study of Gong Xian's landscape painting brush and ink in order to clarify the development of Chinese landscape painting and to understand its unique aesthetic value. Gong Xian said that there are different height of ink and ink: ink gas in the ink, ink Qi, ink, the method began to live. Pen and ink are not two things. This is the use of pen and ink to the advanced stage of the profound experience. If the ancient theorists, or a family has no ink or a pen no pen to divide the argument, Gong Xian will not take the attitude. In particular, he pioneered the theory of muddy, but fine ink and ink, and no ink, is really muddy. Tao broke the Chinese landscape painting to express the laws of nature with unique strokes and ink, from nothing to have, and then from having to nothing, the state of trance.
【学位授予单位】：广州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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