试析明清文人画中的浪漫主义情怀
发布时间：2018-08-07 14:39
【摘要】：浪漫主义作为一种艺术创作方法,最主要的特点是：在反映客观现实上侧重对主观内心世界的挖掘、表现对主观理想世界的向往、强调主观情感的抒发；用奔放热烈的形式语言、夸张个性的表现手段来塑造形象；热爱自然、崇尚自然、自由率真的追求自然之美；崇尚真我、毫不媚俗的审美追求；简言之就是主观抒情,张扬个性,自然为美,崇尚真我。中国古代文人画,一直注重个人精神的表达、思想感情的表露、自然情趣的体悟和自我风格的追求,到了明清时期,这种趋势伴随着政治、经济、文化的延续与发展愈演愈热,文艺界封建叛逆精神强烈,文人书画勃兴成熟,文人抒发强烈的“自我表现”的意识凸显,此时的绘画创作不仅是文娱,更注重抒发情怀,宣泄感情,主张发展“自然之性”,独抒性灵,绘画作品更是不拘成法,纵意所如。文人画家通过酣畅淋漓的笔墨、夸张意象的造型、自由成趣的自然来表达自己强烈的主观感情。比如,明徐渭大写意的酣畅淋漓、陈洪绶人物画的夸张变形；清四僧的狂放不羁、扬州画派的寓情抒怀,无一不在感性自由的自然画面中抒发内心、张扬情感,出现了唯情,唯个性是尊的审美信息,表现出更加抒情化、理想化、个性化和自由化的艺术特征,体现出强烈的浪漫主义情怀。尽管浪漫主义概念的提出是在18世纪的西方,尽管在中国古代没有浪漫主义的美学概念,但浪漫主义的美学形态在中国古代艺术中却是始终存在的。由此便可以将浪漫主义与中国古代艺术现象联系起来,通过体悟明清文人画中所包含的浪漫主义精神,感受文人画独特的情感魅力,以及艺术家们融于自然的胸怀。
[Abstract]:Romanticism, as an artistic creation method, has the following characteristics: to reflect the objective reality, to emphasize the excavation of the subjective inner world, to express the yearning for the subjective ideal world, and to emphasize the expression of subjective emotion; To portray the image with bold and enthusiastic formal language and exaggerated personality; to love nature, to advocate nature, to pursue the beauty of nature freely and frankly; to advocate the true self, not to flirt with the vulgar aesthetic pursuit; in short, to express subjective feelings, Publicity personality, nature for the United States, advocating the true self. Ancient Chinese literati paintings have always paid attention to the expression of personal spirit, the expression of thoughts and feelings, the realization of natural feelings and the pursuit of self-style. In the Ming and Qing dynasties, this trend was accompanied by the continuation and development of politics, economy and culture. The feudal rebellious spirit of literature and art is strong, the literati calligraphy and painting flourish and mature, the literati express a strong consciousness of "self-expression", the painting creation at this time is not only entertainment, but also pay more attention to expressing feelings, catharsis, advocate the development of "nature". Express the spirit alone, painting is even more informal, like vertical intention. Literati painters express their strong subjective feelings through the flowing ink, exaggerated image modeling, free and interesting nature. For example, Xu Wei's great freehand brushwork in the Ming Dynasty, the exaggerated deformation of Chen Hongshou's figure painting; the wild unrestrained of the four monks in the Qing Dynasty, and the emotional expression of the Yangzhou School of painting, all of them express their hearts in the natural picture of sensual freedom. Individuality is the aesthetic information of respect, showing more lyrical, idealized, individualized and liberalized artistic characteristics, reflecting a strong romantic feelings. Although the concept of romanticism was put forward in the 18th century in the West, although there was no romantic aesthetic concept in ancient China, the aesthetic form of romanticism always existed in ancient Chinese art. In this way, romanticism can be connected with ancient Chinese art phenomenon. Through understanding the Romantic spirit contained in literati paintings in Ming and Qing dynasties, we can feel the unique emotional charm of literati paintings, and the artists melt into the mind of nature.
【学位授予单位】：山东理工大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205
本文编号：2170345
[Abstract]:Romanticism, as an artistic creation method, has the following characteristics: to reflect the objective reality, to emphasize the excavation of the subjective inner world, to express the yearning for the subjective ideal world, and to emphasize the expression of subjective emotion; To portray the image with bold and enthusiastic formal language and exaggerated personality; to love nature, to advocate nature, to pursue the beauty of nature freely and frankly; to advocate the true self, not to flirt with the vulgar aesthetic pursuit; in short, to express subjective feelings, Publicity personality, nature for the United States, advocating the true self. Ancient Chinese literati paintings have always paid attention to the expression of personal spirit, the expression of thoughts and feelings, the realization of natural feelings and the pursuit of self-style. In the Ming and Qing dynasties, this trend was accompanied by the continuation and development of politics, economy and culture. The feudal rebellious spirit of literature and art is strong, the literati calligraphy and painting flourish and mature, the literati express a strong consciousness of "self-expression", the painting creation at this time is not only entertainment, but also pay more attention to expressing feelings, catharsis, advocate the development of "nature". Express the spirit alone, painting is even more informal, like vertical intention. Literati painters express their strong subjective feelings through the flowing ink, exaggerated image modeling, free and interesting nature. For example, Xu Wei's great freehand brushwork in the Ming Dynasty, the exaggerated deformation of Chen Hongshou's figure painting; the wild unrestrained of the four monks in the Qing Dynasty, and the emotional expression of the Yangzhou School of painting, all of them express their hearts in the natural picture of sensual freedom. Individuality is the aesthetic information of respect, showing more lyrical, idealized, individualized and liberalized artistic characteristics, reflecting a strong romantic feelings. Although the concept of romanticism was put forward in the 18th century in the West, although there was no romantic aesthetic concept in ancient China, the aesthetic form of romanticism always existed in ancient Chinese art. In this way, romanticism can be connected with ancient Chinese art phenomenon. Through understanding the Romantic spirit contained in literati paintings in Ming and Qing dynasties, we can feel the unique emotional charm of literati paintings, and the artists melt into the mind of nature.
【学位授予单位】：山东理工大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205
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