元代山水画点景人物研究
发布时间：2019-03-24 17:37
【摘要】：在山水画中,点景人物犹如作文之点题,一幅山水画的主题全从点景人物做起。虽然点景人物在山水画中的比重微小、形体勾勒简单,看似是画家随手勾勒而出,却是山水画中最主要的构成要素之一。因此,我们在创作和审视一幅山水画时,决不可予以轻视。 文章首先给出了点景人物的定义以及在题材、笔法、图式形态上的划分,点景人物伴随着中国传统山水画的发展而变化着,由早期隋唐的描绘贵族游春,到五代、两宋表现现实生活场景,再到元代画家在画面中的自我植入。中国传统隐逸性山水画主要受到老、庄思想的影响,在元代山水画中点景人物为了能够更好的服务于隐逸性主题,在人物的身份上演变为文人、逸士；在意境的追求上演进为自我精神的表达,转变了隋唐、五代、两宋时期的贵族、平民形象,也不再关注现实的生活场景。在元代的隐逸性题材的山水画中主要分为山居、待渡、渔隐、行隐四类。在画面中画家为了表现画面的隐逸性主题,在点景人物的刻画上做了简约性的处理,包括点景人数由群组趋向单体、面部五官进一步弱化处理、动态服饰更加概括简略。影响其简约性刻画的原因主要是疏于人事不重表现、画面尺寸制约用笔造型、与山水整体笔墨一致三个方面。在元代山水画巨大的影响之下,明清以及近现代山水画点景人物也受到其简约性刻画的影响。本文的创新点在于对元代山水画点景人物进行了梳理分类,比较分析了元代山水画点景人物简约性的具体绘画表现,并对其背后的主客观原因进行了探索。
[Abstract]:In landscape painting, picturesque characters are like the topic of composition, and the theme of a landscape painting starts with the picturesque characters. Although the proportion of landscape characters in landscape painting is small and the figure is simple, it seems that the painter sketches out with his hand, but it is one of the most important elements in landscape painting. Therefore, when we create and examine a landscape painting, we must not despise it. The article first gives the definition of the picturesque characters and the division in the subject matter, writing method and schema form. The pictorial characters are changing with the development of the traditional Chinese landscape painting, from the early Sui and Tang dynasties' depiction of aristocrats to the five dynasties. Two Song Dynasty performance real life scene, then to Yuan Dynasty painter in the picture self-implantation. The traditional Chinese hermit landscape painting is mainly influenced by the thought of the old and Zhuang. In the Yuan Dynasty landscape painting, in order to better serve the hermit theme, the Chinese traditional hermit landscape painting is staged into a literati and an escape in the identity of the characters. In the pursuit of artistic conception into the expression of self-spirit, the Sui and Tang dynasties, five dynasties, two Song Dynasty aristocrats, the image of the common people, and no longer pay attention to the reality of the scene of life. In Yuan Dynasty, the hermit theme of landscape painting is divided into four categories: mountain dwelling, waiting to be crossed, fishing hidden, walking hidden. In order to show the hidden theme of the picture, the painter has done a simple treatment on the depiction of the picturesque characters, including the number of the picturesque people moving from the group to the individual, the further weakening of the facial features and the further weakening of the facial features, and the dynamic dress is more general and brief. The main reason influencing its simplicity is that it is neglected to display, and the size of the picture is restricted by pen modeling, which is consistent with the whole painting and ink of the mountains and rivers. Under the great influence of Yuan Dynasty landscape painting, the picturesque characters of Ming and Qing dynasties and modern landscape painting were also influenced by its simplicity. The innovation of this paper is to sort out and classify the landscape characters of Yuan Dynasty landscape painting, compare and analyze the concrete painting performance of the simple characters of Yuan Dynasty landscape painting, and explore the subjective and objective reasons behind it.
【学位授予单位】：山东理工大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2446539
[Abstract]:In landscape painting, picturesque characters are like the topic of composition, and the theme of a landscape painting starts with the picturesque characters. Although the proportion of landscape characters in landscape painting is small and the figure is simple, it seems that the painter sketches out with his hand, but it is one of the most important elements in landscape painting. Therefore, when we create and examine a landscape painting, we must not despise it. The article first gives the definition of the picturesque characters and the division in the subject matter, writing method and schema form. The pictorial characters are changing with the development of the traditional Chinese landscape painting, from the early Sui and Tang dynasties' depiction of aristocrats to the five dynasties. Two Song Dynasty performance real life scene, then to Yuan Dynasty painter in the picture self-implantation. The traditional Chinese hermit landscape painting is mainly influenced by the thought of the old and Zhuang. In the Yuan Dynasty landscape painting, in order to better serve the hermit theme, the Chinese traditional hermit landscape painting is staged into a literati and an escape in the identity of the characters. In the pursuit of artistic conception into the expression of self-spirit, the Sui and Tang dynasties, five dynasties, two Song Dynasty aristocrats, the image of the common people, and no longer pay attention to the reality of the scene of life. In Yuan Dynasty, the hermit theme of landscape painting is divided into four categories: mountain dwelling, waiting to be crossed, fishing hidden, walking hidden. In order to show the hidden theme of the picture, the painter has done a simple treatment on the depiction of the picturesque characters, including the number of the picturesque people moving from the group to the individual, the further weakening of the facial features and the further weakening of the facial features, and the dynamic dress is more general and brief. The main reason influencing its simplicity is that it is neglected to display, and the size of the picture is restricted by pen modeling, which is consistent with the whole painting and ink of the mountains and rivers. Under the great influence of Yuan Dynasty landscape painting, the picturesque characters of Ming and Qing dynasties and modern landscape painting were also influenced by its simplicity. The innovation of this paper is to sort out and classify the landscape characters of Yuan Dynasty landscape painting, compare and analyze the concrete painting performance of the simple characters of Yuan Dynasty landscape painting, and explore the subjective and objective reasons behind it.
【学位授予单位】：山东理工大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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