论贯休罗汉画的绘画美学风格

发布时间：2018-03-18 05:00

本文选题：贯休　切入点：罗汉画　出处：《四川师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：贯休是唐末五代一位具有较高艺术成就的诗僧。从小出家,浸染于佛门玄思之中;学成游学,布道讲经于众生世界。其足迹遍布荆湘、吴越等长江中下游一带,以高洁不屈,不媚世俗的作风绝于世俗,以桀骜狂放,落落不羁的品性处于世间,留得诸多佳话传于后世,令后人无不敬仰。晚年,他拄杖携钵,跋山涉水而入蜀,得到蜀主盛情礼遇,终究寻得一清静祥和之处颐养天年。永平二年,其以八旬高龄卒于益州,可谓善终。在艺术创作方面,才华横溢,诗歌、书法以及绘画方面均有成就。其诗有七百余首,在警世喻人、讽刺现实社会方面,可与子美相提并论;其书法方面喜于千字文,长于草书,独创姜体,媲美怀素;其画多以罗汉为题材,创十六罗汉图像,独开罗汉野逸之画风,影响深远。本文主要从贯休罗汉画的风格特征分析入手,来探讨贯休罗汉画的审美格调和特点,进一步来探讨其绘画的美学风格。鉴于此,本文主要分为六个部分,第一部分是绪论,主要是探讨后人学者对贯休的研究情况和介绍论文的研究方法和思路,经过资料的分析整理可得:对于贯休的研究集中在其本人行迹考证和诗歌创作方面,对于其绘画方面的研究资料较少。第二部分主要简单介绍贯休本人的行迹并梳理了在其一生中创作罗汉画重要时期的具体境遇,这有利于去分析其罗汉画鉴赏当中透露出的具体审美意蕴。第三部分和第四部分,具体从“丑”和“逸”两个审美品评范畴去解析贯休罗汉画的审美特征,可以清晰看出其“野逸体”罗汉画的别样审美韵味。第五部分和第六部分主要是阐述其罗汉画的审美创作和深远影响。在创作手法方面主要有三点:首先是继承并创新传统创作技法;其次是以现实生活中的人物形象作为创作模本;最后是将技法与模本内化于心,应梦而成。其罗汉画创作影响突出表现在其首创野逸体罗汉画风,形成了一种道释人物画的创作传统,丰富了中国古典绘画的审美风格特征。
[Abstract]:Guan Xiu was a poetic monk with high artistic achievement in the late Tang Dynasty and five dynasties. He became a monk from childhood and was immersed in the metaphysical thinking of Buddhism. He learned to travel and preached in the world of sentient beings. His footprints were all over Jingxiang, Wuyue and other areas of the middle and lower reaches of the Yangtze River, with high purity and unyielding. Unflattering secular style is absolutely secular, with wild and wild, falling unruly character in the world, leaving a lot of good stories passed on in later generations, so that later generations, so that later in life, he walked into Shu with a stick with a bowl, mountains and rivers, get Shu master hospitality, After all, I found a quiet and peaceful place for the summer. Yongping died in Yizhou at the age of 80 years in two years. In artistic creation, he was talented and accomplished in poetry, calligraphy and painting. There were more than 700 poems. In the aspect of the police and the irony of the real society, it can be compared with Zimei; its calligraphy is more than a thousand characters, longer than cursive script, and its original Jiang style is comparable to Huaisu; most of its paintings take Luo Han as the subject matter and create 16 Luo Han images. The unique style of Luo Han's wild and easy painting has a profound influence. This article mainly starts with the analysis of the style and characteristics of the painting, discusses the aesthetic style and characteristics of his painting, and further probes into the aesthetic style of his painting. In view of this, This paper is divided into six parts, the first part is the introduction, mainly discusses the later scholars' research on Guan Xiu, and introduces the research methods and ideas of the paper. Through the analysis of the data, we can find that the study of Guan Xiu is focused on the textual research of his own work and poetry creation. The second part mainly introduces Guanghu's own works and combs the concrete circumstances of the important period of Luo Han's painting in his life. This is conducive to analyzing the specific aesthetic implications revealed in the appreciation of Luo Han's paintings. The third and 4th parts, specifically analyze the aesthetic characteristics of Guan Xiu Luo Han's paintings from the two aesthetic evaluation categories of "ugliness" and "ease". We can see clearly the other aesthetic charm of Luo Han's painting. Part 5th and part 6th mainly explain the aesthetic creation and far-reaching influence of his paintings. There are three main points in the creative techniques: first, inheritance. And innovating the traditional creative techniques; The second is to take the characters in real life as the creation model, and finally to internalize the techniques and models in the heart, and to dream. The influence of Luo Han's painting creation is manifested in his original style of painting, the wild and easy body, Luo Han. It has formed a tradition of the creation of Taoist paintings and enriched the aesthetic characteristics of Chinese classical paintings.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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