倪瓒山水画逸格研究

发布时间：2018-02-04 14:33

本文关键词： 倪瓒山水画逸格　出处：《郑州大学》2014年硕士论文　论文类型：学位论文

【摘要】：纵观整个元代画学,当时由于蒙古族统治者入主中原,使得元代大批文人遭受社会带来的动荡和异族压迫统治,于是他们选择放弃俗世生活,开始追求精神上的释放,隐居山林,并通过对山林物态的描绘来抒发自己的内心情怀。当时元代画家在整体上都表现出一种对“逸”的追求,元代画家倪瓒是一位富于传奇色彩的人物,他的山水画崇尚逸格写意,并把自身所蕴藏的“逸气”融入到了图式创作过程中,代表了元画之“逸”的最高境界。本文共分四个章节。第一章是整体概述,包括论文选题的背景、研究现状、研究目的及意义以及拟解决的关键问题。第二章分析了元代隐逸之风形成的原因及特点,以及倪瓒的隐逸生活经历。主要陈述倪瓒如何走上了一条寻求内心精神的隐逸之路,并以淡远、高逸的画风将元代绘画发展到了巅峰,最终成为元代逸品画家的代表。第三章是论文的核心部分,从题材、形式语言、景物形象和创作心态四个角度来分析倪瓒是如何建构逸格境界的。主要讲了“逸”是画家所追求的最高境界,它实质上是对精神境界的艺术体现,是中国古代艺术的一个重要审美标准。“逸格”注重的是内心精神的表现与创作,倪瓒之所以是逸品画的最高代表,是因为他注重心灵的释放,真感情的自由抒发,并达到了一种最为本真的状态。倪瓒画中大多描绘的是太湖一带的江南景色,多以一河两岸式构图为主,这种构图方式给人一种萧疏寂静的感觉。倪瓒图式中凝练的笔墨,真实反映了他清冷幽寂的心态,表现了他不染一丝尘俗的思想。画面中的近景经常只画几株枯树和一空亭,中景的湖水和远景平缓的山坡,这些出现在画中的景物形象都说明了倪瓒追求自由高尚的人生理想,这也正是倪瓒所追求的“逸格”境界。最后一章阐述了倪瓒简逸的画风对明清山水画家有着深刻的影响,他们在学习倪瓒的基础上,加入自己的艺术个性从而形成了自己独特的画风。
[Abstract]:Throughout the Yuan Dynasty painting, due to the Mongolian rulers into the Central Plains, so that a large number of literati suffered social unrest and alien oppression rule, so they chose to give up worldly life. Began to pursue the spiritual release, secluded in the mountain forest, and through the description of the state of the mountain forest to express their inner feelings. At that time, the Yuan Dynasty painters on the whole showed a pursuit of "ease". Ni Zan, a painter in Yuan Dynasty, is a legendary figure. His landscape painting advocates easy brushwork, and integrates his own "Yi Qi" into the process of schema creation. It represents the supreme realm of Yuan painting's "ease". This paper is divided into four chapters. The first chapter is an overview of the whole, including the background of the topic, research status, research purpose and significance, as well as the key issues to be solved. The second chapter analyzes the causes and characteristics of the formation of the reclusive wind in the Yuan Dynasty and Ni Zan's reclusive life experience. Gao Yi's painting style developed the Yuan Dynasty painting to the peak, and finally became the representative of the Yuan Dynasty Yi Pin painter. The third chapter is the core part of the thesis, from the subject matter, formal language, scene image and creative mentality to analyze how Ni Zan is to construct the realm of ease. It is essentially an artistic embodiment of the spiritual realm and an important aesthetic standard of ancient Chinese art. "Yi GE" focuses on the expression and creation of the inner spirit, and Ni Zan is the highest representative of the Yi Pin-Pin painting. It is because he pays attention to the release of the soul, the free expression of true feelings, and reached a state of the most original. Ni Zan painting most of the depiction of the southern scenery of the Yangtze River around Taihu Lake, mostly in the form of a river on both sides of the composition. This form of composition gives people a quiet feeling. Ni Zan schema in the condensed ink, the true reflection of his cold quiet mentality. The closeness of the picture often shows only a few dead trees and an empty pavilion, a mid-view lake and a gentle prospect of a hillside. These images in the paintings show that Ni Zan pursues the ideal of freedom and noble life, which is exactly the realm of "ease" pursued by Ni Zan. In the last chapter, the author expounds that Ni Zan's style of painting has a profound influence on Ming and Qing landscape painters. On the basis of studying Ni Zan, they add their own artistic personality to form their own unique painting style.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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