“真”境在北宋山水画中的具体呈现形式

发布时间：2018-07-14 07:16

【摘要】：在魏晋时期中国画的写“真”观念就已经出现,但此时这种观念主要体现在人物画和花鸟画之中,山水画尚处于萌芽阶段,还没有形成具体的理论要求。南朝宗炳曾在其《画山水序》中所云“夫以应目会心为理者,类之成巧,则目亦同应,心亦俱会”(1),道出了画山水要目击心存、储存表象的原理并写到画山水是“身所盘桓,目所绸缪,以形写形,以色貌色”(2)的一个过程,但这里所指的“以形写形”绝不是单纯的描摹自然,而是强调了到自然中去观察记忆,储存形象。南朝画家王微在其画论中也指出创作山水画的过程是由体察自然到熟记于心再到提炼升华的过程,如此才能使画中蕴含哲理,使画面流淌生动气韵。宗炳和王微的这些论述直接影响了北宋山水画的写“真”观的形成。到五代两宋,荆浩在其著作《笔法记》中首次提出了关于“真”的一些见解,文中提到了山水画创作的精神本质是“图真”,围绕这一观点还阐述了“度物象而取其真”和“搜妙创真”等理论,由此山水画对于大自然的写“真”观念才形成。在古代传统哲学思想和荆浩、郭熙等人对山水画研究的影响下,中国山水画在宋代开始将社会文化功能转入到表现画家个体人格、生命与大自然互动的感受上来,画家更为关注自然的生命意味和自然物象的形态特征,这种转变在宋代的山水画作品和画论中清晰可见。从宋代传世的山水画作品中会发现水墨的表现语言更加贴切自然,更加注重对山石树木的质感的具体呈现,如关仝的《关山行旅图》、李成的《寒林平野图》、巨然的《秋山问道图》等。观者在欣赏作品时,视线会跟随景物游走在层层的山林之中,时而登高望远俯瞰群峰,时而游骋在烟波浩渺的云层上......宋代山水画的这种特别的描绘方式是将观者置于一个流动的空间里,使其能够在画中感受到大自然的真实美和内在精神,这正是宋代山水画独有的特点。宋代的山水画不仅呈现出自然山水的面貌而且富有人文情怀,它由艺术家个人的思想感情来主导画面,同时把感情注入到山水形质之中,使笔墨与自然相契合,这样作品中既有客观的自然形态又饱含了画家的思想内涵,这样创作出来的作品不仅充满了自然气息同时也充满了人文气息,才会感染观者。本文通过研究中国传统哲学思想和宋代关于“真”的绘画理论,来探求山水画创作中“真”境的营造。“真”这一审美范畴与先秦老庄哲学思想中所倡导的“真”是一脉相承的,因此要理解宋代山水画中所呈现的“真”,就必须要对老庄哲学理论有所理解。并通过横向研究宋代画坛的背景探求山水画的求“真”之路,力求整体全面的看待宋代山水画的精神实质和水墨内涵,从而来把握宋代山水画的审美追求。学习古人的传统绘画精神是为了我们当下对山水画学习与创作提供明确的参考意义与价值追求,画画写生必须真正懂得体察自然、理解自然、表现自然而后通过作品传达出自己的审美品格和思想意境。同时,现在学习山水画的大环境越来越呈现出多元化,画家们往往面对传统与现代,东方与西方,民间与学院等多种环境的交叉与融合,因此这就要求画家要在不同风格、流派和思想之间学会去伪存真,探求艺术的自由和谐。所以宋代山水画中所呈现的“真笔墨”、“真意境”、“真性情”正是当下我们在绘画学习中应一直追求和学习的审美品格和笔墨情趣。
[Abstract]:The concept of "true" in Chinese painting in the Wei and Jin Dynasties has appeared, but at this time this concept is mainly reflected in the figure painting and flower and bird painting, the landscape painting is still in the bud stage, and there is no specific theoretical requirement. The Southern Dynasty Zong Bingceng in his "painting and landscape order" in the cloud, "the husband to the eye as the reason, the kind of coincidence, then the same should be, "Heart also will be" (1), to show that the painting landscape should be witnessed, the principle of storing the imagery and painting the landscape is a process of "body hovering, order to take measures, form shape, and color" (2), but the "form to form" is not a simple description, but emphasis on the nature to observe the memory, store the image south. In his painting theory, the painter Wang Wei also pointed out that the process of creating landscape painting was from nature to mind to distillation and sublimation, so that it could make the painting contain philosophy and make the picture flowing vividly. These treatises of Zong Bing and Wang Wei directly influenced the formation of the "true" view of the landscape painting in the Northern Song Dynasty. In the Five Dynasties and the two Song Dynasty, Jing Hao was in the Song Dynasty. In his book, he first put forward some opinions about "truth" in his writing, and the essence of the creation of landscape painting is "figure truth". Under the influence of the study of the study of the landscape painting, the Chinese landscape painting began to transfer the social and cultural functions to the individual personality of the painter and the interaction between life and nature in the Song Dynasty. The painter paid more attention to the natural life meaning and the form characteristics of natural objects, and this change in the landscape painting works of the Song Dynasty and Guo Xi. The painting theory is clearly visible. From the landscape paintings of the Song Dynasty, the expressive language of the ink and wash will be found more natural, and more attention is paid to the concrete presentation of the texture of the mountain and stone trees, such as the Guan Mountain travel map, Li Cheng's "the wild map of the cold forest", the giant "Qiu Shan" and so on. The viewer will follow the scenery when he appreciates the works. In the layers of mountain forests, the mountains and mountains are overlooking the peaks, and the mountains and rivers are overlooking the clouds. The special description of the landscape painting in the Song Dynasty is to put the viewer in a flowing space, so that it can feel the real beauty and inner spirit of nature in the painting, which is the unique feature of the Song Dynasty landscape painting. The landscape painting of the generation not only presents the nature of the natural landscape but also is rich in human feelings. It dominates the picture by the personal thoughts and feelings of the artist. At the same time, it inject the emotion into the landscape quality, and make the pen and ink fit with the nature, so that the works have both the objective natural form and the painter's ideological content, so that the creative works are created. The article is not only full of natural atmosphere but also full of humanistic atmosphere to infect the viewer. By studying traditional Chinese philosophy and the painting theory of "true" in Song Dynasty, this article explores the creation of "true" in the creation of landscape painting. The aesthetic category of "true" is a pulse of "true" advocated by the old Zhuang Zhexue thought of the pre-Qin period. Therefore, in order to understand the "true" in the landscape painting in the Song Dynasty, we must understand the theory of Lao Zhuang's philosophy and seek the "true" way of the landscape painting by studying the background of the painting of the Song Dynasty, and try to see the spirit essence of the landscape painting in the Song Dynasty and the connotation of the ink and water as a whole, so as to grasp the trial of the landscape painting of the Song Dynasty. The spirit of learning the traditional painting of the ancient people is for us to provide a clear reference and value pursuit for the study and creation of landscape painting. The painting must truly understand the nature, understand nature, show nature and convey his own aesthetic and ideological conception through the works. At the same time, we learn the landscape painting. The great environment is becoming more and more diversified. Painters often face the cross and integration of traditional and modern, Eastern and western, folk and college environment. Therefore, this requires the artists to learn the truth between different styles, schools and ideas and explore the freedom and harmony of art. So the "true ink" in the landscape painting in the Song Dynasty is "true pen and ink". "True artistic conception" and "true temperament" are the aesthetic qualities and brushwork that we should always pursue and learn in painting and learning.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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