论石涛绘画中的禅宗意境
发布时间：2018-07-25 09:18
【摘要】：石涛是一个孤独的社会边缘人，他以笔墨抒发自我的情绪。石涛的绘画意境是禅宗美学的产物，他和禅宗之间的有着很深的渊源，禅宗精神在他的绘画上表现出的是一种超脱自我的虚静空灵的意境美。石涛在绘画的艺术创作中彰显出禅宗的意境美魅力。禅宗的意境追求是“虚静空灵”，石涛的绘画追求是山川草木之间的一切宇宙的生命的相互交融。两种意境追求具有一致性。石涛的绘画理论围绕无法-有法-至法的虚实相生，相互的转化的变化统一。 本文从三个章节来诠释石涛绘画意境和禅宗的意境之间的关系。第一章的第一小节简单介绍了石涛的艺术理论和绘画的大致背景，从石涛的生平和他与禅宗的渊源，以及他出世入世的心理变化入手。第二小节从石涛的绘画理论入手，剖析石涛的绘画思想根源，，另外对石涛“一画”思想和艺术本体论的进行研究；本文的第二个大章节讲了石涛的绘画理论中禅宗韵味。石涛的绘画以“一画”为主线。“一画”阐释的是自然万物的统一，石涛绘画主张“我用我法”以自然的“尊受”“蒙养”为绘画创作的思想主张。第二小节围绕石涛对山水、诗词、主体三个方面的塑造特点展开。石涛的绘画元素遵循着自任其任、无法有法、天人合一的特点。这些创作元素特点和禅宗之间存在着微妙的关系。第三大章写了石涛绘画形式的禅宗意蕴。第一节禅画形式的生命意味，主要讲石涛的点苔张扬着生命力，线条赋予画面的动感，造型表现的抽象性。最后一节主要写禅宗的境界“虚”“空”“悟”“灵”“逸”与绘画意境之间虚实相生，共融统一的关系。
[Abstract]:Shi Tao is a lonely social fringe, he expresses his own feelings with pen and ink. Shi Tao's artistic conception of painting is the product of Zen aesthetics, and there is a deep origin between him and Zen. Shi Tao shows the charm of Zen artistic conception in the artistic creation of painting. The pursuit of Zen's artistic conception is "empty and empty", and Shi Tao's pursuit of painting is the intermingling of all universe life between mountains, rivers and trees. Two kinds of artistic conception pursue have the consistency. Shi Tao's painting theory revolves around the change and unity of the virtual reality and the transformation between the law and the law. This paper interprets the relationship between the artistic conception of Shi Tao's painting and the artistic conception of Zen Buddhism from three chapters. The first section of the first chapter briefly introduces Shi Tao's art theory and the general background of painting, starting with Shi Tao's life, his origin with Zen and his psychological changes. The second section begins with Shi Tao's painting theory, analyzes the origin of Shi Tao's painting thought, and studies Shi Tao's thought of "one painting" and artistic ontology; the second chapter of this paper talks about the Zen charm in Shi Tao's painting theory. Shi Tao's painting takes "one painting" as the main line. "one painting" interprets the unity of nature and everything, and Shi Tao advocates that "I use my method" and regard natural "respect for receiving" Meng Yang "as the idea of painting creation. The second section focuses on the characteristics of Shi Tao's creation of landscape, poetry and subject. Shi Tao's painting elements follow its own responsibility, can not have the law, the unity of nature and man. There is a subtle relationship between the characteristics of these creative elements and Zen Buddhism. The third chapter writes the Zen meaning of Shi Tao's painting form. The first section Zen painting form of life, mainly talking about Shi Tao's point moss spread vitality, lines to give the picture of the dynamic, the shape of the abstract performance. The last section mainly writes the realm of Zen Buddhism "empty", "realize", "spirit", "Yi" and painting artistic conception.
【学位授予单位】：南昌大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2143355
[Abstract]:Shi Tao is a lonely social fringe, he expresses his own feelings with pen and ink. Shi Tao's artistic conception of painting is the product of Zen aesthetics, and there is a deep origin between him and Zen. Shi Tao shows the charm of Zen artistic conception in the artistic creation of painting. The pursuit of Zen's artistic conception is "empty and empty", and Shi Tao's pursuit of painting is the intermingling of all universe life between mountains, rivers and trees. Two kinds of artistic conception pursue have the consistency. Shi Tao's painting theory revolves around the change and unity of the virtual reality and the transformation between the law and the law. This paper interprets the relationship between the artistic conception of Shi Tao's painting and the artistic conception of Zen Buddhism from three chapters. The first section of the first chapter briefly introduces Shi Tao's art theory and the general background of painting, starting with Shi Tao's life, his origin with Zen and his psychological changes. The second section begins with Shi Tao's painting theory, analyzes the origin of Shi Tao's painting thought, and studies Shi Tao's thought of "one painting" and artistic ontology; the second chapter of this paper talks about the Zen charm in Shi Tao's painting theory. Shi Tao's painting takes "one painting" as the main line. "one painting" interprets the unity of nature and everything, and Shi Tao advocates that "I use my method" and regard natural "respect for receiving" Meng Yang "as the idea of painting creation. The second section focuses on the characteristics of Shi Tao's creation of landscape, poetry and subject. Shi Tao's painting elements follow its own responsibility, can not have the law, the unity of nature and man. There is a subtle relationship between the characteristics of these creative elements and Zen Buddhism. The third chapter writes the Zen meaning of Shi Tao's painting form. The first section Zen painting form of life, mainly talking about Shi Tao's point moss spread vitality, lines to give the picture of the dynamic, the shape of the abstract performance. The last section mainly writes the realm of Zen Buddhism "empty", "realize", "spirit", "Yi" and painting artistic conception.
【学位授予单位】：南昌大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
【参考文献】
相关期刊论文 前2条
1 陈敬友;;灵的空间——中国画的虚实之美[J];美术观察;2010年11期
2 黄文;;试议现代工笔画技法中的非传统因素[J];美术界;2011年04期
本文编号：2143355
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