元清隐士山水画比较研究
发布时间：2018-10-25 16:27
【摘要】：隐逸文化是古代中国社会中的一种独特的文化现象,它与中国的经济土壤、思想渊源、政治氛围和文化好尚有着密切的关系。由于受到诸多因素的影响,在各个不同的历史时期,隐逸文化呈现出不同的特点。元代与清代是中国历史上极为少见的两个由少数民族大一统的封建王朝,在这两个朝代的艺术领域出现的最为独特的现象便是隐士的大量出现,而文人士大夫作为绘画创作的主体,由此而带来的隐士文化及隐士艺术的繁荣为中国艺术带来了新的气息和变革,也使元清两代成为文人画发展的高峰时代。元代与清代的隐士山水画在中国艺术史上都具有重要地位,可以说没有这两个朝代的隐士山水艺术,便没有文人画与山水画的发展与成熟。元清隐士画家这一群“特殊历史机缘中的士”,在特殊的时代背景下所创造出的丰富的艺术财富不仅是中国绘画重要的一部分,而他们通过对艺术不断的探索与追求也使艺术变得更加成熟,更加贴近生命。在这个过程中画家对艺术“美”的极致追求便变成了一种对生命的超越之美,是一种体验万物,通于天地,融自我和万物为一体,从而获得灵魂的适意,达到天人合一境界的过程。这种山水画的嬗变无论对现代还是对将来山水画艺术的发展都产生了不可磨灭的影响,他们这种抒情写意、不断推陈出新的精神也一直促进着山水画发展之路上的不断变革。因此比较研究元代与清代的隐士山水艺术不仅可以让我们更加清晰的了解文人画的发展脉络,也能让我们理解在那个时代文人隐士的不同的人生经历和内心世界。从元代与清代山水画发展过程中我们可以看到两者之间的共性即同为少数民族统治下的隐士山水画的兴盛。隐士作为一个特殊的群体在元清两代为山水画的发展与成熟做出了重要的贡献,由此本文旨在研究元清两代隐士山水,特别是对元清两代隐士山水画艺术进行比较研究,通过对比元代与清代社会政治、文化、经济的差异性发现元清两代隐士山水画艺术的相通性,更通过艺术自身发展的角度去看待元清两代隐士山水艺术的差异性,用其中比较有典型性的元四家与清四僧进行具体比较,通过他们的作品发现他们不同的艺术思想、绘画风格、审美情趣,用继承与发展的眼光去寻找他们山水艺术之间不同的隐逸风格,最终寻找到隐逸山水画发展的脉络所在。
[Abstract]:Hermit culture is a unique cultural phenomenon in ancient Chinese society. It is closely related to China's economic soil, ideological origin, political atmosphere and good culture. Due to the influence of many factors, reclusive culture presents different characteristics in different historical periods. The Yuan Dynasty and the Qing Dynasty were two feudal dynasties with the great unification of ethnic minorities, which were rare in Chinese history. The most unique phenomenon in the artistic field of these two dynasties was the emergence of a large number of hermits. As the subject of painting, the prosperity of hermit culture and hermit art brought new breath and innovation to Chinese art, and also made the Yuan and Qing dynasties become the peak period for the development of literati painting. The hermit landscape painting of Yuan Dynasty and Qing Dynasty has an important position in the history of Chinese art. It can be said that without the hermit landscape art of these two dynasties, there would be no development and maturity of literati painting and landscape painting. The rich artistic wealth created by the recluse painters of the Yuan and Qing dynasties "in the special historical opportunity" is not only an important part of Chinese painting, but also an important part of Chinese painting. They also make art more mature and closer to life through the constant exploration and pursuit of art. In this process, the painters' ultimate pursuit of art "beauty" becomes a kind of transcendental beauty to life. It is a kind of experience of all things, connected to heaven and earth, and integrated with self and all things, so as to obtain the proper meaning of the soul. The process of reaching the realm of unity of man and nature. The evolution of this landscape painting has an indelible influence on the development of landscape painting art both in the modern and the future. Their lyric style and the spirit of constantly introducing the old and the new have also been promoting the continuous changes in the way of landscape painting development. Therefore, the comparative study of the hermit landscape art in Yuan Dynasty and Qing Dynasty can not only make us understand the development of literati paintings more clearly, but also make us understand the different life experiences and inner world of literati hermits in that era. From the development process of landscape painting in Yuan Dynasty and Qing Dynasty, we can see that the common character between them is the prosperity of hermit landscape painting under the rule of minority nationality. Hermits, as a special group, made important contributions to the development and maturity of landscape painting in the Yuan and Qing dynasties. The purpose of this paper is to study the landscape of hermit in the Yuan and Qing dynasties, especially the art of hermit landscape painting in the Yuan and Qing dynasties. By comparing the social, political, cultural and economic differences between the Yuan Dynasty and the Qing Dynasty, we find the similarities between the hermit landscape painting art of the Yuan and Qing dynasties, and look at the differences of the hermit landscape art between the Yuan Dynasty and the Qing Dynasty from the perspective of the development of the art itself. The four Yuan families, which are more typical, are compared with the four monks in the Qing Dynasty. Through their works, they find their different artistic thoughts, painting styles, and aesthetic tastes. With the perspective of inheritance and development to find their landscape art between the different reclusive style, and finally to find the development of hermit landscape painting.
【学位授予单位】：山东理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
[Abstract]:Hermit culture is a unique cultural phenomenon in ancient Chinese society. It is closely related to China's economic soil, ideological origin, political atmosphere and good culture. Due to the influence of many factors, reclusive culture presents different characteristics in different historical periods. The Yuan Dynasty and the Qing Dynasty were two feudal dynasties with the great unification of ethnic minorities, which were rare in Chinese history. The most unique phenomenon in the artistic field of these two dynasties was the emergence of a large number of hermits. As the subject of painting, the prosperity of hermit culture and hermit art brought new breath and innovation to Chinese art, and also made the Yuan and Qing dynasties become the peak period for the development of literati painting. The hermit landscape painting of Yuan Dynasty and Qing Dynasty has an important position in the history of Chinese art. It can be said that without the hermit landscape art of these two dynasties, there would be no development and maturity of literati painting and landscape painting. The rich artistic wealth created by the recluse painters of the Yuan and Qing dynasties "in the special historical opportunity" is not only an important part of Chinese painting, but also an important part of Chinese painting. They also make art more mature and closer to life through the constant exploration and pursuit of art. In this process, the painters' ultimate pursuit of art "beauty" becomes a kind of transcendental beauty to life. It is a kind of experience of all things, connected to heaven and earth, and integrated with self and all things, so as to obtain the proper meaning of the soul. The process of reaching the realm of unity of man and nature. The evolution of this landscape painting has an indelible influence on the development of landscape painting art both in the modern and the future. Their lyric style and the spirit of constantly introducing the old and the new have also been promoting the continuous changes in the way of landscape painting development. Therefore, the comparative study of the hermit landscape art in Yuan Dynasty and Qing Dynasty can not only make us understand the development of literati paintings more clearly, but also make us understand the different life experiences and inner world of literati hermits in that era. From the development process of landscape painting in Yuan Dynasty and Qing Dynasty, we can see that the common character between them is the prosperity of hermit landscape painting under the rule of minority nationality. Hermits, as a special group, made important contributions to the development and maturity of landscape painting in the Yuan and Qing dynasties. The purpose of this paper is to study the landscape of hermit in the Yuan and Qing dynasties, especially the art of hermit landscape painting in the Yuan and Qing dynasties. By comparing the social, political, cultural and economic differences between the Yuan Dynasty and the Qing Dynasty, we find the similarities between the hermit landscape painting art of the Yuan and Qing dynasties, and look at the differences of the hermit landscape art between the Yuan Dynasty and the Qing Dynasty from the perspective of the development of the art itself. The four Yuan families, which are more typical, are compared with the four monks in the Qing Dynasty. Through their works, they find their different artistic thoughts, painting styles, and aesthetic tastes. With the perspective of inheritance and development to find their landscape art between the different reclusive style, and finally to find the development of hermit landscape painting.
【学位授予单位】：山东理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
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