从设色的角度简述黄公望的浅绛山水画

发布时间：2018-09-04 17:32

【摘要】：在古代画史画论中,关于设色画或和设色画相关的称呼有许多。比如“重设色”、“重着色”、“石色”、“淡设色”、“浅着色”、“浅绛色”等,但对他们并没有做过明确的区分与界定。因此在绘画使用时是模糊的,凭感觉的,就连我们经常使用的“青绿”与“浅绛”也是如此。绚烂之极,归于平淡。在古代山水画设色实践中,也是如此。晋唐以前,山水画主要是以青绿重彩的形式出现。随着宋代以苏轼为首的文人画运动的发展与推进,文人墨客们的审美情趣发生了巨大的转变,以水墨为主的浅敷色或浅绛色山水画逐渐登上了画史舞台,成为了中国山水画创作的主要表现形式。浅绛设色最早脱胎于青绿、敷色而在水墨的基础上逐渐完成向小青绿设色、淡设色的一个转变,并在文人水墨山水的基础上形成了标新立异的具有时代标签的浅绛山水。文章通体从设色的角度,以黄公望的浅绛山水为核心,来谈浅绛色彩。显然,说浅绛就不能不提青绿,二者在使用时往往就没有明确的界定,总是相互借鉴各补所长。本文通过青绿山水与浅绛山水的转化关系,及历代论著和代表性作品来分析浅绛色彩对后世山水画创作的影响与启示。本文由以下五个部分构成：第一章：引言部分。本章从选题目的、研究现状与研究方法及选题意义三个方面来概述。第二章：黄公望浅绛设色与传统色彩观的联系。本章主要从“五彩施章”、“以色貌色”、“随类赋彩”三个传统色彩观所包含的浅绛因素和黄公望的浅绛色彩对比进行简述。第三章：浅绛山水画色法的历史演变。本章从青绿山水向水墨山水的转变、浅绛山水画的哲学基础及浅绛山水画的朔源三个方面来论述。第四章：黄公望浅绛设色的影响与意义。本章主要从黄公望浅绛山水画的历史贡献、黄公望浅绛设色对明清及近现代山水画创作的影响来论述。第五章：我在山水画学习中对浅绛设色的理解与认识。本章主要是我对自然的体会及创作实践中的认识与感想。
[Abstract]:In the painting theory of ancient painting history, there are many names about color painting or color painting. For example, "reset color", "recoloring", "stone color", "light coloring", "light crimson", etc., but they have not been clearly distinguished and defined. So it is vague and sensual in painting, even "green" and "light crimson", which we often use. Gorgeous extreme, return to plain. This is also true in the practice of setting colors in ancient landscape paintings. Before Jin and Tang dynasties, landscape painting mainly appeared in the form of green and green color. With the development and promotion of the literati painting movement led by Su Shi in the Song Dynasty, the aesthetic taste of the literati and ink people changed greatly, and the landscape painting with shallow applied color or light crimson color was gradually mounted on the stage of the history of painting. Has become the main form of expression of Chinese landscape painting creation. The color of light crimson was first born out of green color, and on the basis of ink painting, it gradually completed a change to small green color, light color setting, and on the basis of literati painting and ink landscape, it formed an innovative light crimson landscape with the label of the times. From the perspective of color setting, this paper discusses the color of Huang Gongwang's light Jiang landscape. Obviously, the light crimson can not but mention green and green, they often do not have a clear definition in use, always learn from each other. This paper analyzes the influence and inspiration of the color of light crimson on the creation of landscape painting through the transformation of green landscape and light crimson landscape, as well as the works of past dynasties and representative works. This paper consists of the following five parts: chapter one: introduction. This chapter summarizes the purpose of the topic, the research status and research methods, and the significance of the topic. Chapter two: the relation between Huang Gongwang's light crimson color and traditional color view. This chapter mainly from "five colors to apply the seal", "with color appearance color", "along with the kind of color" three traditional color view contains the light crimson factor and Huang Gongwang's light crimson color contrast to carry on the brief introduction. Chapter three: the historical evolution of the color method of shallow crimson landscape painting. This chapter discusses the transformation from green landscape to ink landscape, the philosophical foundation of shallow crimson landscape painting and the source of shallow-crimson landscape painting. Chapter four: the influence and significance of Huang Gongwang's light crimson color. This chapter mainly discusses the historical contribution of Huang Gongwang's shallow crimson landscape painting and the influence of Huang Gongwang's shallow crimson color on the creation of Ming and Qing dynasties and modern landscape paintings. Chapter five: my understanding and understanding of the color of light crimson in the study of landscape painting. This chapter is my understanding of nature and creative practice of understanding and feelings.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J212

【共引文献】