仇英青绿山水研究

发布时间：2018-08-19 14:53

【摘要】：青绿山水是中国传统绘画中的经典样式之一，是着重以色彩来表达真实的大自然和画家内心情感的一种独特方式，有着光辉灿烂的历史背景和独特的审美特征。青绿山水有大青绿和小青绿之分，大青绿山水华美辉煌，设色艳丽；小青绿山水则清新秀雅，韵味十足，但都以其富丽堂皇的气象、华美秀润的色彩表达、浓郁装饰意味的画面呈现和象征意趣的表达而屹立于艺术的舞台，成为中华民族传统绘画中不可忽视的一道美景。仇英，在崇尚水墨清华的明代画坛，以青绿山水画获得了认可，成就了自我，可以说是明代山水画家中独特鲜见的个案。从大体上来说，仇英的青绿山水风格可以分为两类：一类是精工艳丽、以色为主的大青绿山水；另一类则是清新秀丽、兼工带写的小青绿山水。他的青绿山水除了在色彩上纯正秀美，更多的注重笔墨语言的表达之外，还在追随时代的发展，与当时的文化思潮紧密相连，响应人文主义思想，在画面中出现了许多明代世俗化的题材表达，，迎合了当时社会审美的需求，雅化了格调，做到了雅俗共赏，并且时刻透露出雅致洒脱的文人意蕴，成功地在院体画与文人画的之间找到了符合时代发展，属于自己独特的绘画语言。本文着重从仇英青绿山水的成因和其艺术风格、美学主张及代表作品的解读这几大方面来进行详细地剖析。从成因上来看，明代中期属于一个特殊的封建发展时期，经济的飞速发展、人文思潮的推进和艺术环境、社会审美的转变，都有助于仇英美学主张的形成，从而指导仇英青绿山水艺术风格的形成。此外，明朝时期绘画颜料的发展与变化，也较之以前有了很大的进步，为仇英的青绿山水艺术创作提供了更加便利的条件和丰富的资源。再从仇英自身来讲，他的学艺经历可谓是既艰辛又丰富。少年时期的漆工经历为其对色彩的把握和感受都带来了不容忽视的帮助，让他学到了扎实的色彩技艺，另一方面，还培养了他踏实、刻苦的学习态度。之后，文徵明这一伯乐的出现，不仅对其十分照顾，让仇英深刻体会到文人雅士的秀雅温润之品格，更为仇英引荐了一位德高望重的老师——周臣，从周臣的身上，仇英吸取到了道地的院体绘画语言和严谨的艺术风格，这为仇英日后的艺术创作提供了很大的帮助，也为他青绿山水艺术风格的形成打下了牢固坚实的基础。中晚年的仇英长居富家，衣食无忧，这让他能安心地博采众长，学习前人大家的艺术成果，师古造化，又随着仇英与“吴门画派”和苏州文人圈交往的加深，最终形成了他独特的青绿山水画新风貌，对后世产生了深远的影响。仇英的绘画艺术是有强大的生命力的，世俗化的生活情景与普通市民都有过的理想、希望充分联系在了一起，仿佛能回到那个时代，让人感到亲切自然，更容易被社会大众所接受与喜爱。
[Abstract]:Green landscape is one of the classical styles in Chinese traditional painting. It is a unique way to express the true nature and the artist's inner emotion with color. It has brilliant historical background and unique aesthetic characteristics. Green landscapes are divided into big green and small green. Big green landscape is brilliant and colorful. Small green landscape is fresh and elegant, full of charm, but it is expressed in its magnificent atmosphere and beautiful colors. The rich decorative picture presents and symbolizes the expression of interest and stands on the stage of art, which becomes a beautiful scene in the traditional Chinese painting. Qiu Ying, in the painting world of Ming Dynasty advocating ink and ink painting, was recognized by green landscape painting and achieved self, which can be said to be a unique case of landscape painters in Ming Dynasty. Generally speaking, the green landscape style of Qiu Ying can be divided into two categories: one is the beauty of Seiko, the major color is the big green landscape; the other is fresh and beautiful, and the small green landscape written with Gongzhuan. In addition to being pure and beautiful in color and paying more attention to the expression of pen and ink language, his green landscape is also following the development of the times, closely linked to the cultural trend of thought at that time, and responding to humanism. In the picture, there appeared many secularized themes of the Ming Dynasty, which catered to the aesthetic needs of the society at that time, refined the style, achieved the common appreciation of elegance and common appreciation, and always revealed the elegant and free literati meaning. It has found a unique painting language in line with the development of the times between the school painting and the literati painting. This paper focuses on the causes of the green landscape of Qiu Ying and its artistic style, aesthetic ideas and interpretation of the representative works to carry out a detailed analysis. From the cause of formation, the middle period of Ming Dynasty belongs to a special period of feudal development, the rapid development of economy, the advancement of humanistic trend of thought and the change of artistic environment, and the transformation of social aesthetics, all of which contribute to the formation of the aesthetic proposition of Qiu Ying. In order to guide the formation of green landscape art style. In addition, the development and change of painting pigments in Ming Dynasty also made great progress, which provided more convenient conditions and abundant resources for Qiu Ying's artistic creation of green landscape. From his own perspective, his learning experience can be described as both arduous and rich. The experience of lacquer painters in his youth has helped him to grasp and feel the colors, which has enabled him to learn solid color skills. On the other hand, he has also cultivated his steadfast and assiduous learning attitude. After that, Wen Zhengming's appearance of the Burle not only took great care of it, so that Qiu Ying had a profound understanding of the elegant and gentle character of the literati, and even more, he introduced a respectable teacher, Zhou Chen, from Zhou Chen's body. Qiu Ying absorbed the authentic school style painting language and rigorous artistic style, which provided a great help for his later artistic creation, but also laid a solid foundation for the formation of his green landscape art style. In his later years, the enemy of England lived in the rich family and had no worries about food and clothing. This enabled him to learn from all the people and learn from the artistic achievements of his predecessors, and to build up ancient times, and with the deepening of contacts between him and the "Wu Men painting School" and the Suzhou literati circle. Finally formed his unique green landscape painting new style, has a profound impact on later generations. Qiu Ying's painting art has a strong vitality. The secularized life scene and the ideals of the ordinary people have been fully linked together, as if they could go back to that era and make people feel kind and natural. More easily accepted and loved by the public.
【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】：J209.2

【共引文献】