清初袁江袁耀山水界画艺术探析

发布时间：2018-04-20 10:21

本文选题：中国画界画 + 青绿山水　；参考：《曲阜师范大学》2013年硕士论文

【摘要】：山水楼阁界画,是用界笔直尺划线来表现山水楼阁的绘画方法。发展到现在已成为我国古典山水画的一种重要表现形式,并在绘画史上成为独立的一类。他所涉及的内容非常广泛。其中山水形式基本上都取法于唐宋画风,而绘画中建筑的表现形式则是另属一系,有着自己独特的风格。但界画的发展也不是一帆风顺的,他历经了许多曲折最终才有今天的发展,特别是自元代以后,由于时运和文人画的艺术观念和审美情感的改变,让界画的发展可以说是举步维艰,每走一步都要面对文人画家的排斥,然而就是在这样的背景下和逆境中,清代的画家袁江袁耀父子敢于大胆创新,继承和发展相结合,打破了临摹和抄袭的画坛风气,开创了山水画工细写实的一代新风,从而重新振兴了在元、明以来日益消沉的界画。袁江与袁耀作为清初著名的山水画家,都擅长画气势磅礴的山水和让人叹为观止的奢华楼阁建筑,其作品都展现出扎实的传统根基、强有力的写实画风,且充满想象力和独立的审美情趣,也因此在清代画坛上独树一帜。袁江袁耀所处的时代是文人画最为兴盛的清康、雍、乾时期,工笔界画在画坛上地位比较低下,笔者通过查阅大量相关的文献资料,发现能找到的关于袁江袁耀的资料实在是少之又少,没有本人著作流传下来,有关于他们的文字记载也为数不多。所以对他们生平及艺术绘画风格等各方面的研究并没有形成系统,也缺乏应有的深度与广度。本文简要介绍清初以前工笔青绿设色山水楼阁界画的发展状况,解析袁江袁耀两位山水大家在工笔青绿山水及楼阁界画领域取得的成就,进而管窥中国古代界画的民族文化特质。
[Abstract]:Landscape pavilion painting is the drawing method of the landscape pavilion. It has become an important form of Chinese classical landscape painting and has become an independent category in the history of painting. He covers a wide range of subjects. The form of landscape is basically based on the painting style of Tang and Song dynasties, while the form of architecture in painting belongs to another department and has its own unique style. However, the development of the boundary painting was not smooth, and he experienced many twists and turns before he finally developed today, especially since the Yuan Dynasty, because of the changes in artistic concepts and aesthetic feelings of the times and the literati paintings. Let the development of the boundary painting be said to be difficult, every step we have to face the rejection of literati painters, but it is in this context and adversity, the Qing Dynasty painter Yuan Jiang Yuan Yao father and son dare to bold innovation, inheritance and development combined. It breaks the atmosphere of copying and plagiarizing, creates a new style of landscape painters, and reinvigorates the increasingly depressed boundary paintings in Yuan and Ming dynasties. Both Yuan Jiang and Yuan Yao, as famous landscape painters in the early Qing Dynasty, were good at painting magnificent landscapes and breathtaking luxury pavilions. Both of their works exhibited solid traditional foundations and strong realistic painting styles. And full of imagination and independent aesthetic taste, also unique in the Qing Dynasty painting. The era in which Yuan Jiang Yuan yao lived was the most prosperous period of literati painting in Qing Kang, Yong and Qian dynasties, and the position of fine brushwork painting in the painting world was relatively low. The author consulted a large number of relevant documents. It was found that there was very little information about Yuan Jiang and Yuan Yao, and there were few written records about them. Therefore, the study of their life and artistic painting style has not formed a system, and lacks the proper depth and breadth. This paper briefly introduces the development of meticulous green painting of landscape, landscape and pavilion before the beginning of Qing Dynasty, and analyzes the achievements made by Yuan Jiang and Yuan Yao in the field of fine brushwork, green landscape and pavilions. Then we can get a glimpse of the national cultural characteristics of ancient Chinese paintings.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】