浅析米友仁与龚贤作品中的“动”“静”之美

发布时间：2018-03-19 20:58

本文选题：精神指向　切入点：动与静　出处：《河北师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：动与静是一种相对的状态,却普遍存在于世间万物中,这种物理状态上的动与静,体现在中国山水画中便是以动写“静”、静以载“动”,从画面中所传递出来的“动”与“静”,渗透出文人墨客对于山水隐逸情结的追求。本论文首先从“动”与“静”的关系入手,解释“动”与“静”的意思,“动”在古代汉语中的意思是不规则的行走,表示运动的,是一种与“静”相对的状态,“动”是万物生命的升华。“静”在古代汉语中的意思是静止的,可以引申意为宁静、静雅等意,“静”是生命的开始。进而论述“动”与“静”是中国山水画的基本特征,中国的山水画家喜欢以“动”和“静”来营造画面的意境,不光是源于对画面美感的追求,还有对人生感悟的体现以及超脱于自我之上与宇宙融为一体的精神境界。然后以米友仁的《潇湘奇观图》和龚贤的《溪山无尽图卷》为例,对比分析作品中的“动”与“静”。《潇湘奇观图》中的云雾为画面的主体,峰峦起伏,浓翠的层林和屋舍被薄雾笼罩着,云雾时而疏淡,时而浓厚,给人一种流动的感觉。在《溪山无尽图卷》中龚贤通过积墨法墨色之间的变化由淡到浓的慢慢叠加,以此来传达出树木的纹理和神韵,来塑造山石丘壑的质感,使之具有静穆沉雄之势。画面中有“动”则必然有“静”,笔者以中国传统思想认知里“动”“静”关系为纽带,进而分析米友仁作品中表现出来的以动写“静”和龚贤作品里的静以载“动”。接下来再比较分析米友仁和龚贤作品中的意境。从创作背景、章法布局和笔墨意趣三方面来分析出作品的外在表现手法,从“寄兴游心”和“格高思逸”两方面总结出作品的内在精神指向。最后总结出中国山水画艺术中“动”与“静”无论是反映于画面中,还是作用于创作过程中,它们的关系是互为补充相辅相成的。“动”与“静”不只是画面中所呈现的节奏与韵律,还有山水画所具有的永恒沉静的品质和创作者对于生命的内省和顿悟。
[Abstract]:Motion and stillness are relative states, but they generally exist in all things in the world, the physical state of motion and stillness, Reflected in the Chinese landscape painting is to write "static" by moving, static to carry "move", from the picture passed out of the "motion" and "quiet", permeate the pursuit of landscape hermitage complex. This paper first from the "movement" and "" Starting with the "quiet" relationship, Explain the meaning of "moving" and "quiet". In ancient Chinese, the meaning of "moving" is irregular walking, which means moving. "moving" is the sublimation of the life of all things. In ancient Chinese, "static" means "static", which can be extended to mean "tranquility". Jing Ya and so on, "Jing" is the beginning of life, and then discusses that "moving" and "quiet" are the basic characteristics of Chinese landscape painting. Chinese landscape painters like to create the artistic conception of the picture by "moving" and "quiet", not only from the pursuit of the aesthetic feeling of the picture. There is also the realization of life and the spiritual realm of transcendence from the self and the integration of the universe. Then take Miyouren's the Wonderland of Xiaoxiang and Gong Xian's the endless Picture of the Che Shan as an example. Contrasting and analyzing the "moving" and "quiet" in the works. The clouds and fog in Xiaoxiang Wonderland are the main body of the picture. The peaks are undulating, the thick and green forests and houses are shrouded in mist, and the clouds are sometimes light and thick. In the endless Picture of the Creek Mountains, Gong Xian slowly overlaps the changes between ink and ink from light to thick to convey the texture and verve of the trees and shape the texture of the hills and hills. So that it has the tendency of being quiet and heavy and powerful. If there is "movement" in the picture, there must be "quiet". The author takes the relation of "moving" and "quiet" in the traditional Chinese thought as the link. Then it analyzes the dynamic writing "Jing" in Miyouren's works and the "moving" in Gong Xian's works. Then, it compares and analyzes the artistic conception in Mi-you-ren 's and Gong Xian's works. To analyze the external expression techniques of the works from the three aspects of the layout of the composition and the interest of the pen and ink. The inner spirit of the works is summed up from the aspects of "exhilarating and touring heart" and "GE Gaosiyi". Finally, the author sums up the "movement" and "stillness" in the art of Chinese landscape painting, whether they are reflected in the picture or in the process of creation. The relationship between them is complementary and complementary. "moving" and "quiet" are not only the rhythm and rhythm presented in the picture, but also the eternal quiet quality of landscape painting and the introspection and epiphany of life by the creators.
【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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