松年《颐园论画》绘画美学思想研究

发布时间：2018-04-01 16:31

本文选题：意境　切入点：笔墨　出处：《内蒙古师范大学》2013年硕士论文

【摘要】：松年（1837-1906）晚清书画家。其绘画理论专著《颐园论画》在绘画美学思想和绘画创作方面为学习绘画艺术的人提供了理论指导，具有特殊的意义。清初画坛主要是以“四王”和“四僧”为代表的绘画流派，是复古与创新的碰撞。随着清朝的日益衰败，以怡情养性的士大夫画和宫廷画开始衰落，为了适应新兴市民阶级的审美趣味，在题材和风格方面发生了新的变化。松年在《颐园论画》中的绘画美学思想可以为人们提供较为明确的方向指引。本文共分为四个部分。第一部分是文章的序论，在这部分叙述了论文的研究意义、国内外研究现状和研究思路这三方面的内容。经过寻找所了解到有关研究松年及其《颐园论画》的资料很少，松年的绘画美学思想继承与创新的内容都在他的画论之中，非常值得深入研究。第二部分是松年及其美学思想产生的时代背景。通过研究松年所处的时代背景和晚清时期的文化的研究，进一步了解这些因素对松年思想的影响。第三部分是对松年《颐园论画》中绘画美学范畴的研究，，这部分是文章的重点。在这部分之中共分为意境论、笔墨论和师古论这三个方面展开阐释，意境论中主要介绍意境、情景、心运美学含义和在画论中的体现，笔墨论立足点是用笔用墨用水之法，师古论中是别创一格、心领神会、取优学之。通过比较研究对其绘画美学思想进一步的总结。第四部分是余论和意义，余论中主要包含的内容是书画清高首重人品和鉴画与西洋画法，意义是总结松年《颐园论画》绘画思想的意义和影响。松年《颐园论画》绘画美学思想对于艺术创作具有很重要的指引作用，他的一些观点至今受用。画论中松年的一些观点是较为正确的，且完整的，是非常值得我们深入学习研究的。
[Abstract]:Songnian 1837-1906) the late Qing Dynasty calligrapher whose painting theory monograph "Yi Yuan on painting" provides theoretical guidance for those who study painting art in the aspects of painting aesthetic thought and painting creation. It is of special significance. The painting world in the early Qing Dynasty was mainly represented by the painting schools of "four kings" and "four monks", which was the collision between the restoration of ancient times and innovation. In order to adapt to the aesthetic taste of the new citizen class, new changes have taken place in the subject matter and style. This paper is divided into four parts. The first part is the preface of the article. In this part, the significance of the research, the current research situation and the research ideas at home and abroad are described. Songnian's painting aesthetic thought inherits and innovates in his painting theory, which is worth studying deeply. The second part is the epoch background of Songnian and its aesthetic thought. By studying the age background of Songnian and the culture of late Qing Dynasty, we can further understand the influence of these factors on Songnian's thought. The third part is the study of the aesthetic category of painting in Songnian "Yi Yuan painting", which is the focus of the article. In this part, it is divided into three aspects: artistic conception theory, brush and ink theory and Shigu theory, in which the artistic conception is mainly introduced. Scene, aesthetic meaning and embodiment in painting theory, the foothold of pen and ink theory is the method of using ink water with pen, and the method of using ink water in master's ancient theory is not to create a pattern, to understand with heart, to learn from it, and to sum up his aesthetic thought of painting through comparative study. The fourth part is the conclusion and significance. The main content of the Yu theory is that the calligraphy and painting in Qing Dynasty emphasize the character and the method of judging painting and Western painting. The significance is to summarize the meaning and influence of the painting thought of "Yi Yuan painting" in Songnian. The Aesthetic thought of painting plays an important role in guiding artistic creation. Some of his views have been used up to now. Some of the views of Matsumoto in painting theory are quite correct and complete. Is very worthy of our in-depth study and research.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J201

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