唐宋时期画“水”法及其历史地位

发布时间：2018-10-09 21:03

【摘要】：“水”作为生命、生活中的重要对象,很早就出现在实用器物之上,并在唐以后成为山水画中的主要组成部分。早期实用器物上的“水”,以纹饰的形式出现,并在不同的历史时期不断的得到发展。如新石器早期,马家窑文化彩陶水波纹钵就已经出现漩涡纹、海浪纹、水波纹等,其线条用笔流畅,图案的布局组织也相当严密。西周时期的部分青铜器也曾出现过海浪纹,如几父铜壶、丰卣、效、卣、孟簋、静簋等。秦汉时期,在彩绘陶和原始青瓷上,水波纹成为主要纹饰。东汉、三国及西晋的青瓷上,依然流行水波纹。隋唐时期,水波纹作为陶瓷器边饰不断出现,如青釉大瓶、青瓷凤首壶、孔雀纹银方盒等。宋、元、明、清时期,水波纹作为主题纹样大量应用在各类器物上,如宋代吉州窑瓷器上的白地褐彩海水纹；更多的是作为底纹与其他纹样组合成新的纹样,如宋代定窑、耀州窑的落花流水纹、海水游鱼纹等。另外还有明代青花海水梅花纹铃铛杯,具有波涛连连、气势磅礴艺术特点。山水画史上的“水”更是不可或缺的主角,不仅画法多样,而且一直处在不断丰富与发展的过程中。本文以唐、五代及南北宋山水画中“水”的表现形式、水的画法为研究对象,分析其历史特点,并评价它在山水画中重要的历史地位。唐代山水画家李思训、李昭道、张躁是对以后山水画画水的发展具有深远影响的重要人物。在五代十国时期,画水大家逐渐增多,技法也开始越来越成熟,赵斡、董源、荆浩、关仝这四位在山水画画水史上不可忽视的关键性人物为后人做出了巨大贡献。特别是两宋时期,画水大家层出不穷,北宋有郭熙、巨然、张择端、李成、范宽等,他们对水的观察细致入微。南宋的夏圭、马远等多描绘水图。通过对唐五代及宋时期画水大家的整理和研究,使后人得到智慧、思想和情感的启迪,获得技法和独特个性的借鉴,从而寻找到一种新的绘画启示。并且向人们证明中国山水画画领域水在画面中的角色不容忽视,也让我们看到个时代的进步。
[Abstract]:As an important object of life and life, "Water" appeared on the practical objects very early and became the main part of landscape painting after Tang Dynasty. The "water" on the early practical objects appeared in the form of ornaments and developed continuously in different historical periods. Such as the early Neolithic, Majiayao culture painted pottery water ripple bowl has appeared swirl, wave, water ripple, its lines with a smooth pen, the layout of the pattern is very tight. Some bronze vessels in the Western Zhou Dynasty also appeared wave patterns, such as several father copper pot, Fengyou, effect, you, Meng Gui, Jing Gui and so on. In the Qin and Han dynasties, water ripples became the main ornaments in painted pottery and primitive celadon. Eastern Han Dynasty, three Kingdoms and Western Jin Dynasty celadon, still popular water ripple. In the Sui and Tang dynasties, water ripples, as pottery ornaments, such as green glaze bottles, celadon Phoenix first pot, peacock silver box, etc. During the Song, Yuan, Ming and Qing dynasties, water ripples were widely used as thematic patterns in various kinds of utensils, such as the white ground and brown color sea water patterns on the porcelain of Jizhou kilns in the Song Dynasty, and more as shading patterns combined with other patterns to form new patterns, such as the Ding kiln in the Song Dynasty. Yaozhou Kiln's falling water lines, sea water swimming fish lines, and so on. In addition, there were blue and white sea water plum pattern bell cup, with waves, magnificent artistic characteristics. Landscape painting in the history of "water" is an indispensable protagonist, not only in a variety of painting methods, and has been in the process of continuous enrichment and development. This article takes the expression form of "water" in the landscape painting of Tang, five dynasties and the Song Dynasty as the research object, analyzes its historical characteristics and evaluates its important historical position in the landscape painting. Tang Dynasty landscape painters Li Sixun, Li Zhaodao and Zhang Mang are important figures who have a profound influence on the development of landscape painting. In the five dynasties and Ten Kingdoms period, painting water gradually increased, and the techniques began to become more and more mature. Zhao Wu, Dong Yuan, Jing Hao and Guan Tong, the four key figures in the history of landscape painting, made great contributions to the future generations. Especially in the Song Dynasty, painting water appeared in endlessly. In the Northern Song Dynasty, Guo Xi, Juran, Zhang Qiduan, Li Cheng, Fan Kuan and so on. Xia Gui and Ma Yuan of the Southern Song Dynasty depict water pictures. Through the collation and research of painting water in Tang Dynasty and Song Dynasty, the later generations can get the enlightenment of wisdom, thought and emotion, and the reference of technique and unique personality, so as to find a new kind of painting enlightenment. And proved to people that the role of water in the field of Chinese landscape painting can not be ignored, but also let us see the progress of the times.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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