浅析王蒙繁体山水的苍厚之美
发布时间：2019-01-06 14:59
【摘要】：元代,经济、文化衰败,艺术也发生了很大变化,对艺术家的生活和思想造成巨大影响,特别是对汉人知识分子的打压,他们中的许多人不能沿着“学而优则仕”之路去施展抱负,表现出出世的隐逸心态,他们或入道参禅,或游于山林,造就了一批文人艺术家。“元四家”就是以独特的艺术风格在此时期出现的,在中国美术史上占据重要地位,对以后的画风影响深远。王蒙以其“苍厚”且又超凡脱俗的“繁体”绘画风格在元代山水中独步。作为元四家之一的王蒙,在绘画领域享有极高的声誉,其在元四家中的艺术面貌是最为多样的,也是画家创造力旺盛的表现。早期受儒家思想影响比较大,后受产生于魏晋时期的隐逸思想和当时文人生活的侵染,开始辞官归隐,优游林下,寄情于山水笔墨,其山水画布景繁密,用笔毛涩透削,用墨苍润意境深邃,是其精神的写照,画面充满空灵、静谧之气。王蒙山水的“繁”的“苍厚”之美,是其师传统和师造化的体悟,他隐居在黄鹤山三十年左右,并游于太湖、家乡一带,体验真实山川的风貌,摄取自然景物之神,用淡泊之心关照自然,静寂的山川与脱尘的心灵锲合,用自己多样化的笔墨写出苍茫深邃的心中山,繁密且透着空灵繁山是其精神的寄托,是理想的境界。由于文献的缺少和其绘画风格的多变想详细阐述绘画成就是非常困难的,本文主要以风格学的方法,,将画家所处的社会文化背景、画家生平活动、画家的绘画思想、画家的师承关系等与作品图示风格结合,通过对代表性作品的浅见分析,以及其生平经历的简述粗略了解其山水画的基本面貌所呈现的“苍厚”之感。通过对王蒙的《青卞隐居图》的分析,浅谈王蒙崇山复岭的画面形式呈现出来表现江南山水“苍茫润秀”的“苍厚”之美画面特征及其“繁笔”技法的审美特征,并形成如此“苍厚”画风的来源以及王蒙形成自己风格的三个时期的演变和对后世产生的影响来进行研究。
[Abstract]:In the Yuan Dynasty, the economy and culture declined, and the arts also underwent great changes, which had a great impact on the life and thinking of artists, especially on the intellectuals of the Han people. Many of them could not follow the path of "learning and doing best" to show their ambition and show a reclusive attitude. They either went to Taoism to visit Zen or traveled to the mountains and forests to create a group of literati and artists. "Yuan four families" appeared in this period with its unique artistic style, which occupies an important position in the history of Chinese art and has a profound influence on the style of painting in the future. Wang Meng's unique painting style of "traditional style" in Yuan Dynasty. Wang Meng, as one of the four Yuan families, enjoys a high reputation in the field of painting. The early period was influenced by Confucianism, and was later influenced by the seclusion of the Wei and Jin dynasties and the life of the literati at that time. With the deep mood, is its spiritual portrayal, the picture full of empty, quiet spirit. The beauty of Wang Meng's "numerous" pale and thick "mountains and rivers is his teacher's tradition and the understanding of his teacher's creation. He has lived in the Yellow Heshan Mountains for about 30 years, and has swam around Taihu Lake, his hometown, to experience the true scenery of the mountains and rivers, and to ingest the gods of natural scenery. Take care of nature with indifferent heart, quiet mountains and dedusting heart, write out vast and deep heart Zhongshan with their own diversified pen and ink, the dense and empty mountain is its spiritual sustenance and ideal state. Because of the lack of literature and the variety of painting style, it is very difficult to elaborate the achievement of painting in detail. In this paper, by stylistic method, the social and cultural background of the painter, the life activities of the painter, the painter's painting thought, Combined with the graphic style of the works, the painter's relationship between the teacher and the master, and through the analysis of the representative works, as well as the brief description of his life experience, the author roughly understands the feeling of "Canghou" presented by the basic features of his landscape paintings. Through the analysis of Wang Meng's "Green Bian seclusion Picture", this paper briefly talks about the picture form of Wang Meng Chong Shan Fu Ling, which shows the aesthetic features of "Cang thick" of Jiangnan Mountain and Water, and the aesthetic features of "complex pen" technique. And the formation of such a "Canghou" style of origin and Wang Meng formed his own style of three periods of evolution and influence on later generations to study.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
本文编号：2402945
[Abstract]:In the Yuan Dynasty, the economy and culture declined, and the arts also underwent great changes, which had a great impact on the life and thinking of artists, especially on the intellectuals of the Han people. Many of them could not follow the path of "learning and doing best" to show their ambition and show a reclusive attitude. They either went to Taoism to visit Zen or traveled to the mountains and forests to create a group of literati and artists. "Yuan four families" appeared in this period with its unique artistic style, which occupies an important position in the history of Chinese art and has a profound influence on the style of painting in the future. Wang Meng's unique painting style of "traditional style" in Yuan Dynasty. Wang Meng, as one of the four Yuan families, enjoys a high reputation in the field of painting. The early period was influenced by Confucianism, and was later influenced by the seclusion of the Wei and Jin dynasties and the life of the literati at that time. With the deep mood, is its spiritual portrayal, the picture full of empty, quiet spirit. The beauty of Wang Meng's "numerous" pale and thick "mountains and rivers is his teacher's tradition and the understanding of his teacher's creation. He has lived in the Yellow Heshan Mountains for about 30 years, and has swam around Taihu Lake, his hometown, to experience the true scenery of the mountains and rivers, and to ingest the gods of natural scenery. Take care of nature with indifferent heart, quiet mountains and dedusting heart, write out vast and deep heart Zhongshan with their own diversified pen and ink, the dense and empty mountain is its spiritual sustenance and ideal state. Because of the lack of literature and the variety of painting style, it is very difficult to elaborate the achievement of painting in detail. In this paper, by stylistic method, the social and cultural background of the painter, the life activities of the painter, the painter's painting thought, Combined with the graphic style of the works, the painter's relationship between the teacher and the master, and through the analysis of the representative works, as well as the brief description of his life experience, the author roughly understands the feeling of "Canghou" presented by the basic features of his landscape paintings. Through the analysis of Wang Meng's "Green Bian seclusion Picture", this paper briefly talks about the picture form of Wang Meng Chong Shan Fu Ling, which shows the aesthetic features of "Cang thick" of Jiangnan Mountain and Water, and the aesthetic features of "complex pen" technique. And the formation of such a "Canghou" style of origin and Wang Meng formed his own style of three periods of evolution and influence on later generations to study.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
【相似文献】
相关硕士学位论文 前3条
1 陈维立;浅析王蒙繁体山水的苍厚之美[D];山东艺术学院;2017年
2 李倩;文学批评视野下的王蒙小说[D];山西大学;2017年
3 何挺;通过《葛稚川移居图》看王蒙的取舍观[D];上海师范大学;2017年
，本文编号：2402945
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