中国山水画中积墨语言运用与创新的探究

发布时间：2018-11-03 16:09

【摘要】：山水画作为我国中国画的主要艺术形式,存在着其特有的书写规范与审美解读理念。而积墨作为中国山水画中笔墨的语言对中国山水画的表现形式和书写状态也起到了非常重要的表现作用。可以这样说中国山水画中的积墨既是构成中国山水画的外在表现形态、更是中国山水画表现其本体内涵意蕴的重要符号特征,它有着非常浑厚和华丽的韵律,是山水画中笔墨语言的精髓。从我国的山水画历史中来看:许多山水画大师用尽了其一生的精力去追寻山水画语言的生成与挖掘工作,他们将强有力的绘画语言与中国古代丰富的人文精神相合在一起,创造出了许多中国山水画中的积墨语言,其中极具影响力的有龚贤、黄宾虹、李可染、贾又福等山水画大师。学习山水画中的积墨之法,首先要掌握好其笔墨层层积累的要领,要使得大好的河川江山既要有内在的人文精神又要有外在的雄伟壮丽;其次是要提高对积墨语言的审美能力,将对积墨法的传统认识结合着时代的变迁赋予其新的意义与活力,才能将大自然的象征符号在一种历史的流逝感之中所表现出来。因此,本文在行文上一共分为了五大部分:第一章为总述中国山水画中积墨法的相关定义与应运现状;第二章论述了中国山水画中的积墨语言自隋唐开始到明清时期的演变和传承的过程;第三章以山水画积墨语言使用大师:龚贤、黄宾虹、李可染、贾又福、张建华的积墨使用手法为例,分别对他们的山水画积墨语言的传承和创新进行了分析;第四章从当下山水画中积墨语言的传承情况出发,论述了积墨语言对当下山水画创作和山水画理论建树方面的影响;最后是本文的结论部分,概述了本文的论述经过,以及本次论文研究所得出的结论。希望能够通过对中国山水画积墨语言这般环环相扣、层层推进的论述,找到中国山水画积墨语言使用的新途径、新境界,以期我国传统文化能够在新世界的浪潮之中还能保持其固有的冲击力与感染力。
[Abstract]:Landscape painting, as the main art form of Chinese painting in China, has its unique writing norms and aesthetic interpretation idea. As the language of Chinese landscape painting, ink accumulation plays a very important role in the expression and writing state of Chinese landscape painting. It can be said that the ink accumulation in Chinese landscape painting is not only the external expression form of Chinese landscape painting, but also the important symbol characteristic of Chinese landscape painting showing its essence connotation. It has a very rich and gorgeous rhythm. It is the essence of brush and ink language in landscape painting. Judging from the history of landscape painting in our country, many masters of landscape painting have exhausted all their energy to pursue the creation and excavation of the language of landscape painting. They have combined the powerful painting language with the rich humanistic spirit of ancient China. Created a lot of Chinese landscape painting in the ink language, including Gong Xian, Huang Binhong, Li Keran, Jia Youfu and other masters of landscape painting. To study the method of ink accumulation in landscape painting, first of all, we should master the main points of the accumulation of ink and brush layers, and make the excellent rivers and mountains have both the inherent humanistic spirit and the external majestic splendor; Secondly, it is necessary to improve the aesthetic ability of ink accumulation language, combine the traditional understanding of ink accumulation method with the changes of the times to endow it with new significance and vitality, so that the symbolic symbols of nature can be displayed in a sense of historical lapse. Therefore, the text of this paper is divided into five parts: the first chapter is a general description of the Chinese landscape painting in the ink method related to the definition and the status quo; The second chapter discusses the evolution and inheritance of the ink language in Chinese landscape painting from the Sui and Tang dynasties to the Ming and Qing dynasties. The third chapter takes the master of the use of ink in landscape painting as an example, analyzes the inheritance and innovation of the ink language of landscape painting. The fourth chapter from the current landscape painting in the inheritance of ink language, discusses the current ink language on the current landscape painting creation and landscape painting theory of the impact; The last part is the conclusion of this paper. I hope to find a new way and a new realm of the use of Chinese landscape painting ink accumulation language through the discussion of the Chinese landscape painting ink language so closely linked and advanced layer by layer. It is hoped that the traditional culture of our country can maintain its inherent impact and appeal in the tide of the new world.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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