新疆冰雪题材山水画研究
发布时间：2019-01-28 11:46
【摘要】：冰雪世界，洁白冷逸，寂静空灵，它给我们带来美的享受。 传统雪景山水画因其独特的面貌和韵味，自古以来就受到画家们的青睐。从历代画论对雪景山水的描述来看，在东晋最早出现，兴盛于唐宋，在明清继承与发展。雪景画经过漫长的发展过程中在绘画技法上和画面的表现风格等方面都有了很大地完善。到了五代，，描述雪景画静态和动态的所有技法已全部出现，而以后的作品，也都只是在画面的表现内容、形式和表现意境方面上的丰富和完善。无疑古代雪景山水画给我们留下了宝贵的资源，但是表现西北边疆的大雪和冰在古代的画面是没有的，这为新疆冰雪题材山水画的发展留下了很大的发展空间。 雪景山水画作为山水画的一个重要题材，从古至今人们只是把描写雪景的山水画称为雪景山水画，它还未形成一个明确的概念，二十世纪中叶以后，用矾做调剂的冰雪山水画新样式开始出现，冰和雪的绘画方法开始走向一个新的阶段。从此，一种新的表现冰雪山水的方式开始兴起，这种新的技法逐渐被画家们接受。在地处祖国的大西北新疆，画家们也早已把矾墨法、牛奶法（用牛奶和墨调和的）、水拓法等技法运用到冰雪题材山水画中。 新疆地处祖国西北，有着独特的自然环境和气候条件。新疆冬季寒冷时间漫长，降雪频繁丰厚，雪大、雪厚，为冰雪山水画的发展创造了丰富的资源。冰川、雪山、雾凇等地貌使新疆的雪景峻美而神奇。新疆冰雪题材山水画注重用笔墨语言来表现雪后生机勃勃的画面。新疆山水画可以说是伴随着新中国的诞生而成长发展起来的，建国后几十年的发展探索，许多致力于发展新疆山水画的画家，不断写生考察，创作了大量反映新疆山水风情的作品，并在思想创新、理论探索和实践方面取得了较大的成就。所以说，新疆山水画应该拥有自己的独立性语言。因此通过对新疆冰雪山水画借鉴传统和创新两方面的分析，探讨新疆冰雪山水画的艺术风格及发展空间。 本文以传统雪景山水画的发展及艺术风格为背景，试图归纳新疆冰雪山水画的发展道路及画家的艺术风格，再进一步介绍传统雪景画与新疆冰雪山水画的师承、章法、笔墨等关系的传承与发展，从而为传统雪景山水画与新疆题材山水画研究提供相关借鉴。 笔者将新疆冰雪题材山水画作为课题，是由于我在新疆读研，是我对所处生活空间的关注与感动。因此，我通过新疆山水画的演进过程，分析其发展过程中应继承、发展与创新之处。
[Abstract]:Ice and snow world, white and cold, quiet and empty, it brings us the enjoyment of beauty. Traditional snow landscape painting has been favored by painters since ancient times because of its unique appearance and charm. According to the description of snow scenery in the painting theory of the past dynasties, it first appeared in the Eastern Jin Dynasty, flourished in the Tang and Song dynasties, and inherited and developed in the Ming and Qing dynasties. Snowscape painting after a long process of development in painting techniques and painting performance style has been greatly improved. By the five dynasties, all the techniques describing the static and dynamic snowscape painting had appeared, and the later works were only rich and perfect in the aspects of the performance content, the form and the artistic conception of the picture. There is no doubt that the ancient snow landscape painting left us precious resources, but there is no snow and ice in the northwest frontier, which leaves a great space for the development of snow and ice landscape painting in Xinjiang. Snow landscape painting is an important subject of landscape painting. From ancient times, people only refer to the landscape painting of snow scenery as snow landscape painting. It has not formed a clear concept. After the middle of the twentieth century, A new style of ice and snow landscape painting with alum as adjuster began to appear, and the painting method of ice and snow began to move to a new stage. Since then, a new way to express the ice and snow landscape began to rise, this new technique was gradually accepted by painters. In Northwest Xinjiang, where the motherland is located, painters have already applied the techniques of alum ink, milk (mixed with milk and ink) and water extension to the ice and snow subject landscape painting. Xinjiang is located in the northwest of the motherland, with a unique natural environment and climate conditions. Xinjiang winter cold time is long, the snow frequent rich, the snow is big, the snow is thick, has created the rich resources for the ice and snow landscape painting development. Glaciers, snow mountains, rime and other landforms make Xinjiang's snow-sharp beauty and magic. Xinjiang ice-snow theme landscape painting pay attention to the use of pen and ink language to express the vibrant picture after snow. Xinjiang landscape painting can be said to have grown and developed with the birth of New China. In the decades since the founding of the people's Republic of China, many painters dedicated to the development of Xinjiang landscape painting have been constantly working on sketching. He has created a large number of works reflecting the landscape customs of Xinjiang, and has made great achievements in ideological innovation, theoretical exploration and practice. Therefore, Xinjiang landscape painting should have its own independent language. Therefore, through the analysis of the traditional and innovative aspects of Xinjiang ice and snow landscape painting, this paper discusses the artistic style and development space of Xinjiang ice and snow landscape painting. Taking the development and artistic style of traditional snow landscape painting as the background, this paper tries to sum up the development road of snow and ice landscape painting in Xinjiang and the artistic style of the painter, and further introduces the traditional snow landscape painting and Xinjiang ice and snow landscape painting. The inheritance and development of the relationship between brush and ink can provide reference for the study of traditional snow landscape painting and Xinjiang subject matter landscape painting. The author takes the subject of Xinjiang ice and snow landscape painting as a subject, because I studied in Xinjiang, which is my concern and emotion to the living space. Therefore, through the evolution of Xinjiang landscape painting, I analyze the inheritance, development and innovation in its development process.
【学位授予单位】：新疆师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2417028
[Abstract]:Ice and snow world, white and cold, quiet and empty, it brings us the enjoyment of beauty. Traditional snow landscape painting has been favored by painters since ancient times because of its unique appearance and charm. According to the description of snow scenery in the painting theory of the past dynasties, it first appeared in the Eastern Jin Dynasty, flourished in the Tang and Song dynasties, and inherited and developed in the Ming and Qing dynasties. Snowscape painting after a long process of development in painting techniques and painting performance style has been greatly improved. By the five dynasties, all the techniques describing the static and dynamic snowscape painting had appeared, and the later works were only rich and perfect in the aspects of the performance content, the form and the artistic conception of the picture. There is no doubt that the ancient snow landscape painting left us precious resources, but there is no snow and ice in the northwest frontier, which leaves a great space for the development of snow and ice landscape painting in Xinjiang. Snow landscape painting is an important subject of landscape painting. From ancient times, people only refer to the landscape painting of snow scenery as snow landscape painting. It has not formed a clear concept. After the middle of the twentieth century, A new style of ice and snow landscape painting with alum as adjuster began to appear, and the painting method of ice and snow began to move to a new stage. Since then, a new way to express the ice and snow landscape began to rise, this new technique was gradually accepted by painters. In Northwest Xinjiang, where the motherland is located, painters have already applied the techniques of alum ink, milk (mixed with milk and ink) and water extension to the ice and snow subject landscape painting. Xinjiang is located in the northwest of the motherland, with a unique natural environment and climate conditions. Xinjiang winter cold time is long, the snow frequent rich, the snow is big, the snow is thick, has created the rich resources for the ice and snow landscape painting development. Glaciers, snow mountains, rime and other landforms make Xinjiang's snow-sharp beauty and magic. Xinjiang ice-snow theme landscape painting pay attention to the use of pen and ink language to express the vibrant picture after snow. Xinjiang landscape painting can be said to have grown and developed with the birth of New China. In the decades since the founding of the people's Republic of China, many painters dedicated to the development of Xinjiang landscape painting have been constantly working on sketching. He has created a large number of works reflecting the landscape customs of Xinjiang, and has made great achievements in ideological innovation, theoretical exploration and practice. Therefore, Xinjiang landscape painting should have its own independent language. Therefore, through the analysis of the traditional and innovative aspects of Xinjiang ice and snow landscape painting, this paper discusses the artistic style and development space of Xinjiang ice and snow landscape painting. Taking the development and artistic style of traditional snow landscape painting as the background, this paper tries to sum up the development road of snow and ice landscape painting in Xinjiang and the artistic style of the painter, and further introduces the traditional snow landscape painting and Xinjiang ice and snow landscape painting. The inheritance and development of the relationship between brush and ink can provide reference for the study of traditional snow landscape painting and Xinjiang subject matter landscape painting. The author takes the subject of Xinjiang ice and snow landscape painting as a subject, because I studied in Xinjiang, which is my concern and emotion to the living space. Therefore, through the evolution of Xinjiang landscape painting, I analyze the inheritance, development and innovation in its development process.
【学位授予单位】：新疆师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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