唐宋时期湖石题材绘画的技法语言分析

发布时间：2018-03-29 07:17

本文选题：湖石　切入点：唐宋时期　出处：《中央美术学院》2013年硕士论文

【摘要】：湖石作为我国古典园林赏石的重要组成部分,以“皱、瘦、漏、透、丑”的形态特征,受到自魏晋以来各阶层人士的持续推崇和喜爱,以至承载了丰富的审美和精神内涵,成为一种传统文化符号般的存在。古人对湖石的热情延伸到了绘画上。从唐宋的人物、山水画到明清花鸟画,湖石作为不间断的绘画题材也经历了一个漫长的发展演变过程,积累了大量的图式语言。研究绘画巾的湖石题材表现,不仅可以了解这些湖石本身的技法构成,同时也能从其中照见传统绘画从分科到独立发展的宏大脉络,探寻在人物画先行一步的基础上,山水、花鸟画逐渐建立属于自己的语言系统,并且交互影响、融汇的成长轨迹,因此这种研究具有多方面的意义。湖石题材绘画最早出现于魏晋画像砖石,而在唐宋时期达到鼎盛,形成了两种相对独立的语言体系,即笔者所谓“双勾晕染法”和“率勾皴染法”技法系统。因这一时期产生的为数众多的代表作品、以及对后世湖石题材绘画的典范意义,所以论文以唐宋时期为界,以画科分离为时代背景,将两种技法系统作为研究对象,以及其对应的《高逸图》、《祥龙石图》为主要切入点,详细分析“双勾晕染法”和“率勾皴染法”的形成、来源、表现和影响。笔者希望通过论文的研究,达到对湖石题材的技法特征的深入理解,对唐宋山水、花鸟画形成和相互联系的宏观认识,再对应当代新水墨的探索,为实践者的创作提供新的启发和思路,证明研究的现实意义。
[Abstract]:As an important part of the appreciation of stone in Chinese classical gardens, the lake stone, with the characteristics of "wrinkle, thinness, leakage, penetration and ugliness", has been continuously respected and loved by people from all walks of life since the Wei and Jin dynasties, even carrying rich aesthetic and spiritual connotations. As a symbol of traditional culture, the ancients' enthusiasm for lake stone extended to painting. From the figures of Tang and Song dynasties, landscape painting to flowers and birds painting in Ming and Qing dynasties, the lake stone, as an uninterrupted subject matter of painting, also experienced a long process of development and evolution. A large number of schematic languages have been accumulated. By studying the performance of the lake stone theme, we can not only understand the technical composition of these lakes and stones, but also see from them the grand context of traditional painting from division to independent development. On the basis of the first step of figure painting, landscape painting, flower and bird painting gradually set up their own language system, and interactive influence, fusion of the growth track, Therefore, this kind of research has many meanings. The painting of lake stone first appeared in the Wei and Jin dynasties, and reached its peak in the Tang and Song dynasties, forming two relatively independent language systems. That is, the technique system of "double hook dizziness method" and "rate hook chapping method". Because of the numerous representative works produced in this period, and the exemplary significance to the painting of lake stone subject matter in later generations, the paper takes the Tang and Song dynasties as the boundary. Taking the separation of painting sections as the background of the times, taking the two technical systems as the object of study, and the corresponding "Gao Yi Chart" and "Xianglong Stone Map" as the main entry point, the formation and source of "double hook dizziness" and "rate tick chapped dyeing" are analyzed in detail. The author hopes that through the research of the thesis, the author will have a deep understanding of the technical characteristics of the lake and stone subject matter, a macroscopic understanding of the formation and interrelation of the landscape, flowers and birds paintings in the Tang and Song dynasties, and then correspond to the exploration of the contemporary new ink painting. To provide new inspiration and train of thought for practitioners to prove the practical significance of the study.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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