浅谈龚贤独特山水画中的静

发布时间：2018-07-26 07:13

【摘要】：龚贤是明代的一位遗民画家，他在明清绘画中占有着极为重要的地位，位居“金陵八家”之首。这位画家极为擅长于用墨，笔触既稳重又沉着，秃笔和尖笔交替使用，秃笔圆润苍劲，勾勒房屋、刻画画树干、皴擦点染，力道苍劲，我们从他的画面中就能非常清楚的看到，他笔下的树干、房屋、等等在用笔上都非常有力度，，线条结实、稳重，龚贤的画虽不用泼墨但却更有一番烟润淋漓的味道。画中远处的山似乎和天际的烟云围绕在一起，近处的景色厚重朴实，两者结合在一起形成近实远虚的效果。总结他的山水画是非常具有独特艺术魅力的，其中的一个最为突出特点是——静的意境。这种静是画家自身所带的一种独特的气质，是兼济天下的胸怀，却郁郁不得志，在当时的社会政治背景下，只得对世俗不闻不问，无奈将自己的所有情怀抒发在自己的画中。龚贤的山水画风格特点大致分为三个时期，即洗练而宁静的“白龚”时期，苍秀而虚静的“灰龚”时期，浑沦而静穆的“黑龚”时期。这三个时期都包涵了一个“静”字，所不同的是各时期对静阐释有所侧重。他的这一风格特点是由多种因素形成的。一是他所处的江南独特的地理环境；二是继承师法古人的绘画传统；三是他有着独特的身世，不平凡的经历，孤傲的性格塑造了其超凡的精神境界。在这些因素的影响下，他的山水画形成了独特的风格特点，画面上呈现了一种静的意境美。龚贤将自己的画法与一些心得总结起来编绘成课徒稿留给后世的人们，供与我们学习，刘刚纪曾经在自己的书中《龚贤》一书中夸赞龚贤说他是我们国家明清绘画史上一位具有独创精神的、并且有着执着的现实的绘画主义精神的画家，龚贤的画和他的《课徒稿》对我国近代画家如、黄宾虹、李可染、以及现代的贾又福等都有着极为重要的影响。他的山水画风格及绘画思想对当代的画坛都有着很大的启示意义。本篇论文试图通过探究分析他的山水画的静之意境，来揭示这一风格形成的原因，希望能有一些新的发现。
[Abstract]:Gong Xian is a relic painter in Ming Dynasty. He occupies an extremely important position in Ming and Qing Dynasty painting, ranking first among the eight Jinling families. This painter is very good at using ink, the brush strokes are both steady and steady, the bald pen and the sharp pen are used alternately, the bald pen is smooth, the house is sketched, the trunk is painted, the chapped points are dyed, and the strength is very strong. We can see very clearly from his picture. The trunk, house, and so on in his writing are very strong, strong lines, steady, Gong Xian's painting, although not splashing ink, but more smoke dripping smell. The distant mountains in the painting seem to be surrounded by clouds of smoke in the sky. The near scenery is thick and plain, and the two combine to form the effect of near reality and far away. Summing up his landscape painting is very unique artistic charm, one of the most prominent feature is-static artistic conception. This kind of stillness is a unique temperament brought by the painter himself, and it is also the mind of helping the world, but it is gloomy and unfulfilled. Under the social and political background at that time, he had to ignore the worldly feelings and express all his feelings in his paintings. The characteristics of Gong Xian's landscape painting style are divided into three periods, namely, the "Bai Gong" period of washing and quiet, the "grey Gong" period of Cang Xiu and the "Grey Gong" period, and the "Black Gong" period of obscurity and tranquility. These three periods all contain a word "Jing", which is different from each period. His style is characterized by a variety of factors. One is his unique geographical environment in the south of the Yangtze River; the other is inheriting the painting tradition of the ancients; the third is that he has a unique experience, extraordinary experience, and his proud personality has shaped his extraordinary spiritual realm. Under the influence of these factors, his landscape painting formed a unique style characteristics, the picture presents a static artistic conception beauty. Gong Xian summed up his painting method and some of his ideas and made a draft of the lesson for future generations to learn from us. In his book Gong Xian, Liu Gangji once praised Gong Xian for being an original painter in the history of painting in our country, Ming and Qing dynasties, and a painter with a persistent and realistic spirit of painting doctrine. Gong Xian's paintings and his manuscripts have great influence on modern Chinese painters such as Huang Binhong, Li Keran, and modern Jia Youfu. His landscape painting style and painting thought have great enlightenment significance to the contemporary painting world. This paper attempts to explore and analyze the static artistic conception of his landscape painting, to reveal the reasons for the formation of this style, hoping to have some new discoveries.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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