群山深处白云飞—刘知白山水画研究

发布时间：2018-10-30 13:33

【摘要】：中国传统绘画在现代社会正面临着一个发展的瓶颈,尤其是传统山水画,无论是创作模式、审美观念和文化境遇方面,都正在经历一场前所未有的挑战和冲击。与传统的美术教学不同的是,近代学校美术教育体系和教学方式深受西方教育的影响,可以说在创作观念和表达范式方面,西方风景画和现代绘画观念等方面都对中国画的发展走向产生不同程度的影响。尽管有很多国画家依旧坚持认真创作,也取得了可观的成就,但是,就当代山水画创作的整体而言主要的问题集中表现在两个方面:一方面舍弃传统盲目借鉴西方的创作理念和现代的创作方法,强调创新的同时,忽视了其作为民族艺术的文化生成基础和艺术特质,这很难完成真正意义上创新;另一方面由于时代原因,在中国画近代发展的过程中,画家们又日益脱离了传统文化情境和审美理念,例如很多从事中国画的创造者们对于传统文化的脱节,如读书少、不写诗、游历不广和不注重书法等,由于对传统书画修养与积炼的不足,使得很多山水画家无法真正传承、接受"书画本一律"的传统和山水文化的滋养,这样也就很难对山水中蕴含的道家文化内涵以及山水中应有的文化积淀能够有深层的理解。很多画家将山水作为较为单纯的审美与表现对象来对待,这样就导致了传统意义上山水画发展的新困境。正是因为如此,我们更应当关注那些对于中国画的发展与传承中已经真正做出贡献的画家,尤其是那些既能坚守和继承传统,又能借古开今的杰出画家。在当代中国画家中,刘知白是上世纪一位杰出的山水画家,亦是一位长期被忽视的画坛遗贤。他的传统功力深厚,诗书画都达到很高的成就,山水和花鸟画兼善,尤其是泼墨山水画,不仅拓展了现代山水画的表现空间,而且进一步推进了区域山水画的发展。然而长期以来,美术界和学术界对于其人其艺的了解,对其山水画的深入认知,以及他在当代山水画革新中的贡献知之甚少,研究不足,可以说这是一个令人遗憾的文化现象,因此,出于对画坛遗贤的敬重和对中国画出路的一种关注,本文以画家个案研究为突破口,主要是以刘知白先生的山水画为研究重点,通过对作品分期的梳理与阐释来探讨其艺术轨迹,探讨在七十余年的艺术实践中刘知白老人师法传统、探索新境和创立泼墨大写意山水的艺术历程,进而通过对刘知白在上世纪泼墨山水创作中的艺术理念、作品特色极其艺术成就等作多方位和细致的探讨,诠释其艺术继往开来的深层原由,并力求为探讨中国当代山水画的发展做些有价值的思考。
[Abstract]:Chinese traditional painting is facing a bottleneck of development in modern society, especially traditional landscape painting, whether it is creative mode, aesthetic concept and cultural circumstances, are experiencing an unprecedented challenge and impact. Different from traditional art teaching, modern school art education system and teaching methods are deeply influenced by western education. Western landscape painting and modern painting concepts have different degrees of influence on the development of Chinese painting. Although there are many painters from different countries who still insist on serious creation and have made considerable achievements, however, The main problems in the creation of contemporary landscape painting as a whole are focused on two aspects: on the one hand, abandoning the tradition and blindly learning from the western creative ideas and modern creative methods, emphasizing innovation at the same time, Neglecting its cultural foundation and artistic characteristics as national art, it is very difficult to complete the real sense of innovation; On the other hand, due to the reasons of the times, in the process of modern development of Chinese painting, painters are increasingly divorced from the traditional cultural context and aesthetic concepts. For example, many creators engaged in Chinese painting are disjointed with traditional culture, such as less reading. Without writing poems, traveling widely and not paying attention to calligraphy, and so on, many landscape painters are unable to truly inherit and accept the tradition of "uniform calligraphy and painting" and the nourishment of landscape culture because of their deficiencies in the cultivation and accumulation of traditional calligraphy and painting. In this way, it is difficult to understand the Taoist cultural connotation and the cultural accumulation in the landscape. Many painters treat landscape as a simple aesthetic and performance object, which leads to a new predicament of landscape painting development in the traditional sense. Because of this, we should pay more attention to those painters who have made a real contribution to the development and inheritance of Chinese painting, especially those outstanding painters who can not only adhere to and inherit the tradition, but also borrow from the ancient times to open the present. Among the contemporary Chinese painters, Liu Zhibai is an outstanding landscape painter in the last century, and also a neglected artist. His traditional skills are profound, poetry, calligraphy and painting have reached a very high achievement, landscape, flowers and birds painting as well as good, especially splash-ink landscape painting, not only expand the performance space of modern landscape painting, but also further promote the development of regional landscape painting. However, for a long time, the art circle and academic circles have known little about his art, his deep cognition of his landscape painting, his contribution to the innovation of contemporary landscape painting, and his lack of research, which can be said to be a regrettable cultural phenomenon. Therefore, out of respect for the legacy of the painting world and a concern for the way out of Chinese painting, this paper takes the case study of the painter as the breakthrough point, mainly focusing on the landscape painting of Mr. Liu Zhibai. Through combing and explaining the works by stages, this paper probes into the artistic track of the works, discusses the art course of Liu Zhibai's teaching tradition in the art practice of more than 70 years, explores the new land and creates the art course of splashing ink and big freehand brushwork. Then, through the discussion of Liu Zhibai's artistic concept, characteristics and artistic achievements of the painting in the last century, it explains the deep reasons for his art to carry on the future. And to explore the development of contemporary Chinese landscape painting to do some valuable thinking.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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