黄宾虹与张大千绘画美学比较研究

发布时间：2019-03-21 18:31

【摘要】：20世纪是一个东西方艺术碰撞、交融、互补，充满艰苦求索和新旧更替的特殊时期。这个时期的中国艺术面临着巨大的考验。中国画只有通过变革创新，才会产生新的生命力，否则就只能被淘汰。全盘承传古人之迹，或是用西方绘画来引导中国艺术显然都是不可取的，黄宾虹、张大千作为这一时期中国画变革的领军人物和杰出代表，对于中国画的走向问题，不约而同的采取了立足传统的自觉态度。对近现代中国山水画的发展有着重要影响。本文拟分为三大部分，，比较体味两位大师在美学思想、创作手法、审美形态方面的异同。虽然同为优秀的中国画大家，二者拥有传移模写、读万卷书、外师造化，中得心源等共通的绘画美学基本观念。但由于对待传统和西方的不同学习、接纳的方式，从而产生了不同的审美理想。黄宾虹的尚雅尚文形成了五笔七墨的创作手法，张大千的求博求精催生了泼彩的特殊表现手段。产生了不同的形态特征，丰富了近代美术史中国画发展的多样性。然而中国画学术界历来有视文人画为正宗的传统，近代中国山水画研究和创作也不乏尊黄抑张的偏颇。本文的对比分析，是在前人研究的基础上。对两位大师的绘画美学进行分析论述，有助于更加深入认识二者的艺术思想，艺术成就，对中国画特别是山水画的“时代性”发展，具有特殊意义。对于认识20世纪中国画，尤其是理解中国山水画的发展变化，具有特殊的意义。
[Abstract]:The 20th century is a special period in which East and West art collides, blends, complements, and is full of painstaking search and replacement of the old and the new. The Chinese art of this period is facing a great test. Chinese painting can produce new vitality only through reform and innovation, otherwise it can only be eliminated. It is obviously not advisable to pass on the trace of the ancients in an all-round way, or to use western painting to guide Chinese art. Huang Binhong and Zhang Daqian, as leaders and outstanding representatives of the reform of Chinese painting in this period, are of great concern about the direction of Chinese painting. In the same way, we adopt a self-conscious attitude based on tradition. It has an important influence on the development of modern Chinese landscape painting. This paper is divided into three parts, comparing the similarities and differences between the two masters in aesthetic thoughts, creative techniques and aesthetic forms. Although they are both excellent Chinese paintings, they have the common basic concepts of painting aesthetics, such as imitating, reading thousands of volumes, creating the outside master, and getting the heart of the heart, and so on. However, different aesthetic ideals came into being because of the different ways of learning and acceptance between tradition and the West. Huang Binhong's Shangya text formed five strokes and seven inks of creation, Zhang Daqian's search for excellence gave birth to a special means of expression. It has produced different morphological characteristics and enriched the diversity of the development of Chinese painting in the history of modern art. However, the academic circle of Chinese painting has a tradition of treating literati painting as authentic, and the research and creation of modern Chinese landscape painting are biased with respect to Huang Yichang. The contrastive analysis of this paper is based on the previous research. The analysis and discussion of the painting aesthetics of the two masters is helpful to further understand their artistic thoughts and artistic achievements, and has special significance for the development of the "times" of Chinese painting, especially the landscape painting. It is of special significance to understand Chinese painting in the 20th century, especially to understand the development and change of Chinese landscape painting.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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