“没骨山水”画风初探

发布时间：2018-12-29 16:18

【摘要】：明代末期的画坛上出现了一批色彩浓艳、风格独特的作品。这批作品起先是由董其昌在题跋中定名为“没骨山水”。其画派的源流是由张僧繇、杨f与郭忠恕传承下来，到了明晚期被董其昌和蓝瑛等画家进一步发展。不过在追溯晚明“没骨山水”画风时，却没能找到其确切的风格来源。此时，明末突然复兴，这种突然出现的“没骨山水”画风与中国传统以及外来文化之间的关系到底怎样，是值得我们关注的问题。当“没骨山水”这样的概念在明末被提出后，画家们因无法把握到其风格来源而去寻找古代传统绘画，试图为这个突然出现的画风找寻到与中国传统之关联，最后发现在古代绘画的传统中似乎也有着类似的做法。然而，如果我们只关注其风格与中国传统之共同性，却忽略其特殊性，很容易会将“没骨山水”视为是中国具有悠久传统之画风。除此之外，本文还提出晚明的“没骨山水”画风受到了日本绘画的影响。在董其昌和蓝瑛的作品里，皆可见到日本绘画作品中雪景与缤纷的彩叶的影子。晚明的文化有许多的来源，在晚明中日文化交流中，，可以确定的是当时可以看到倭国的绘画作品和众多的文物，而明代对日本的好奇心与众多的文物收藏，更可能影响到中国画风。至此，日本的绘画风格有可能成为中国绘画的外来资源之一。
[Abstract]:In the late Ming Dynasty, a number of colorful and unique works appeared in the painting world. At first, Dong Qichang named it "No Bone Landscape" in the postscript of Dong Qichang. The origin of his painting was passed down by Zhang Sengyou, Yang Fan and Guo Zhongshu, and was further developed by Dong Qichang and Lan Ying in the late Ming Dynasty. However, in the late Ming Dynasty, no bones landscape painting style, but can not find its exact style source. At this time, the sudden revival of the late Ming Dynasty, this sudden emergence of "no bone landscape" painting style and the relationship between Chinese tradition and foreign culture, is worthy of our attention. When the concept of "landscape without bones" was put forward in the late Ming Dynasty, painters, unable to grasp the source of their style, sought to find a connection to the Chinese tradition for the sudden emergence of this style of painting. In the end, it was found that there seemed to be a similar practice in the tradition of ancient painting. However, if we only pay attention to the commonality of its style and Chinese tradition, but ignore its particularity, it is easy to regard "Bone-less Landscape" as a painting style with a long tradition in China. In addition, this article also proposed that the late Ming Dynasty "no bone landscape" painting style by the Japanese painting. In Dong Qichang and Lan Ying's works, the snowscape and colorful leaves in Japanese paintings can be seen. There were many sources of culture in the late Ming Dynasty. In the cultural exchanges between China and Japan in the late Ming Dynasty, it was certain that the paintings and numerous cultural relics of Japan could be seen at that time, and that the Ming Dynasty was curious about Japan and had a large collection of cultural relics. More likely to affect the style of Chinese painting. At this point, the Japanese painting style is likely to become one of the foreign resources of Chinese painting.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】