苏轼文人画意境论

发布时间：2018-01-26 14:37

本文关键词： 苏轼文人画枯木竹石图潇湘竹石图意境　出处：《云南师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：本文通过对苏轼文人画理论的基本梳理，，在总结提炼前人研究成果的基础上，提出了苏轼文人画意境论的独特见解。在宋代，文人画已经达到成熟阶段，苏轼作为传统文化的集大成者，在诗、文、书、画、印、音乐上无所不精，并最早提出了“士人画"的概念，其绘画思想多散见于题画诗、题画记以及品评绘画的文章中，在美学和文艺理论上颇有建树。苏轼倡导的文人画理论是宋代文人画思想的中心，其创作灵感和艺术真谛，影响到宋代文化群体审美理想。在绘画上强调“常理”、“传神”，提出：“论画以形似，见与儿童邻。赋诗必此诗，定非知诗人”，不仅要重视形似，更要重视神似。他主张“诗画一律”的观点，倡导诗画结合，使之成为文人画的基本特点之一，强调只有通过“心忘手、手忘笔”，才能达到“无法胜有法”的境界，形成自然之妙趣。在书法上有“书如其人”之喻，在绘画中倡导“以书入画”，主要体现在现存绘画真迹《枯木怪石图》和《潇湘竹石图》中。本文以苏轼文人画的意境为主，也从现存的两幅真迹着手，在《枯木怪石图》中主要以“平淡自然”的绘画风格、笔墨情趣、“身与竹化”与“成竹在胸”的创作构思来探索绘画中的意境。在《潇湘竹石图》中通过对意境的阐述来导出苏轼的潇湘情缘，对潇湘题材的热爱而创作的绘画意境更为深道。苏轼的一生总的来说都受到了儒释道三家思想的影响，这三种哲学思想不仅历练了他的人生意志，升华了他的思想境界，更让他在文艺创作中超越了现实，超越了自我。研究苏轼文人画的意境不仅弘扬中华民族传统文化精神，更有益于提高现代画家的文化专业素养和创作理念，绘画创作意境、笔墨意境的研究对当代的写意画来说无疑是提供了一个高层次的理论依据，对当代艺术创作提供了意境空间让艺术创作的实践活动更具意义。
[Abstract]:Through the basic combing of Su Shi's literary painting theory and on the basis of summarizing and refining the previous research results, this paper puts forward the unique views of Su Shi's artistic conception theory of literati painting. In the Song Dynasty, the literati painting has reached a mature stage. Su Shi, as the epitome of the traditional culture, was very good in poetry, literature, book, painting, printing and music. He put forward the concept of "scholar painting", and his painting thought was scattered in the painting poems. The literary painting theory advocated by Su Shi is the center of the literati painting thought of the Song Dynasty and its creative inspiration and artistic essence. It influences the aesthetic ideal of cultural groups in Song Dynasty. In painting, it emphasizes "common sense" and "evoking spirit", and puts forward: "on painting in the form of likeness, see with children's neighbors. The poem must not know the poet", not only should pay attention to the form of similarity. He advocated the combination of poetry and painting, and made it one of the basic characteristics of literati painting. He emphasized that only through "heart forget hand, hand forget pen". In order to achieve the "unable to win the Dharma" realm, the formation of natural interest. In calligraphy, there is a "book like its people" metaphor, in painting advocate "book into painting." Mainly reflected in the existing paintings "dry wood strange stone map" and "Xiaoxiang bamboo stone map". This article mainly based on the artistic conception of Su Shi literati painting, but also from the existing two original works. In "withered wood strange stone picture", mainly with "plain nature" painting style, pen and ink taste. "body and bamboo" and "Cheng Zhu in the chest" to explore the artistic conception of painting. In "Xiaoxiang bamboo stone picture" through the elaboration of artistic conception to derive Su Shi's Xiaoxiang relationship. Su Shi's life is generally influenced by Confucianism, Buddhism and Taoism, which not only experienced his will in life. Sublimation of his ideological realm, but also let him in literary and artistic creation beyond the reality, beyond the ego. The study of the artistic conception of Su Shi literati painting not only carry forward the traditional cultural spirit of the Chinese nation. More useful to improve the cultural professional literacy and creative ideas of modern painters, painting artistic conception, the study of the artistic conception of ink and pen is undoubtedly to provide a high-level theoretical basis for the contemporary freehand brushwork. It provides artistic conception space for contemporary artistic creation to make the practical activities of artistic creation more meaningful.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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