蒋骥《传神秘要》研究

发布时间：2018-04-22 17:09

本文选题：蒋骥 + 传神秘要　；参考：《山西师范大学》2014年硕士论文

【摘要】：中国传统肖像画科发展到明清时期，已经不再具有唐宋时期的光辉风采，出现式微的态势。但即使在这种大的背景下，明清肖像画依然有着自己的发展，突显出属于那个时代的风貌特征。因此很多的研究者致力于清代肖像画这一时期之前的肖像画著述及艺术特色的研究。清朝这一历史时期，虽然说创新不是很大，但是依然有其重要的绘画指导意义和研究价值。清朝时期，西方传教士画家带来了新鲜的绘画样式，使此时的肖像画坛呈现出中西合壁的绘画风格。这一时期文人士大夫阶层所创作的肖像画风格仍是有曾鲸一派的影子，同时，肖像画家素日即与文人墨客交流往来，更有些自己便是二者兼得。文人仕宦本身所处的地位及身份，加之其学养深厚，其自身的气质和秉性完全和他们的肖像画创作相融合，以追求文人的精神气质为绘画要旨，因此，他们的肖像画创作即有着普遍的文人气也有着属于那一时代的艺术风貌。上述是值得我们肯定的地方。然而，虽然这一历史时期遗留下来的优秀作品也不少，但是，和前期各朝代的艺术作品品格相比较，尤其是肖像画这一部分来看，程式化的影响日趋严重，创新性欠缺。不仅是在其绘画作品上有体现，在其理论著述方面也有着同样的弊病。纵观中国肖像画历史长河中，有着许多值得我们学习借鉴的优良传统，仅就作品遗存在数量方面的优势是远远不能说明问题的，，在其相关的著述辑要方面却是少之又少。对于肖像画不是简单的把人画像了就好，其绘制过程中所要遵循的原则以及行业间所称谓的经验口诀等还是必须要认真考虑的。这不仅仅涉及到绘画的艺术层面，还有其技术层面的问题，都是值得我们现代人深入思考和探究的。说到这些经验和口诀，在当时是鲜为人知的，通常为行业间的秘密箴言，基本上是家传或者师徒秘授，大多不肯轻易示与外人。到了清代，机缘条件日趋成熟，传统肖像画学著述相对集中出现。它们是蒋骥著述的《传神秘要》，丁皋编写的《传真心领》，沈宗骞编著的《芥舟学画编》。其中，蒋骥《传神秘要》是清代成书较早的一部肖像画理论著述，所以，继承了前代众多的优秀绘画理念和观点，同时也有其对肖像画艺术独到的见解。体现了这一时期肖像画的整体艺术风貌。清代肖像画发展之所以呈现出这样的面貌是有其特殊原因的，是受到当时经济、政治、外交以及艺术交流等各种因素的影响，才形成了清代独特的肖像画艺术特色以及肖像画著述的风格特征。本文是从作者的简述、理论渊源、画法解析以及对后世的影响等方面作为论述的切入点，在文中运用大量的学术引证、运用手绘的肖像画作画步骤图以及举例（包括事例的论述和图片的参考），采用对比、分析、论述等手法进行全文的阐述。纵观历代肖像画学著述，不仅仅是对绘画经验的总结，更是融合了作者的美学思想和艺术观点，是对其整个人生经历体验的彰显，然而就整体来看，亦是对当时肖像画坛的一种全面反映。从美学上面来讲，绘画是人类实践活动发展到一定阶段才形成的一种审美体验，是对生活的观察、感悟及思考，是画者对客观事物的反映，尤其是肖像画绘制过程中，画者不仅仅被自己的审美观念所左右，更是会受到被画者精神气质的感染，感受着被描绘对象的形体特征以及内在之神。这其间蕴含着只有属于中国人的哲学观、世界观，从中国传统文化中去感悟中国人物画造型艺术的独特魅力。本文主要目的是要回溯中国传统肖像绘画的思维方式和认知方式，进入到传统肖像画家的内心深处，从其所论述的言词中，观察著述者的想法，具体到本文就是从蒋骥《传神秘要》这一部论著中，来辨析中国传统肖像绘画的独特审美与价值。对其进行正误之辨析，弘其精粹，批其瑕弊，以使其更好的服务于当代的肖像画创作。
[Abstract]:The Chinese traditional portrait painting section developed to the Ming and Qing Dynasties, no longer has the glorious style of the Tang and Song Dynasties, and has a slight trend. But even under this big background, the portrait paintings of the Ming and Qing Dynasties still have their own development, which highlights the features of the times. In the historical period of the Qing Dynasty, although innovation was not very big, it still had important guiding significance and research value in the historical period of the Qing Dynasty.
During the Qing Dynasty, the western missionary painters brought new style of painting, making the portraiture scene showing the painting style of the Chinese and western wall. In this period, the style of portrait painting created by the literati and officialdom is still the shadow of the former one. At the same time, the portraiture has been communicating with the literati, and some of them are two. In addition, the status and identity of the literati and officials themselves, in addition to their profound learning, their own temperament and nature are completely integrated with their portrait creation, in pursuit of the spirit of the literati for the purpose of painting. Therefore, their portrait creation has a universal literary popularity and the artistic features of that time. It is a place worthy of our affirmation. However, although there are many outstanding works left over in this historical period, however, compared with the artistic quality of various dynasties in the previous dynasties, especially in the part of the portrait, the influence of stylization is becoming more and more serious and lack of creativity. It is not only reflected in his paintings, but also in his theoretical writings. There is also the same malaise.
In the long history of Chinese portrait painting, there are many excellent traditions which deserve our study and reference. Only the advantages of the remains of the works are far from the problem, but few in the related writings. The principles and the appellation of experience among industries must be carefully considered. It is not only involved in the artistic and technical aspects of the painting, but also on the technical level, which are worth thinking and exploring by our modern people. It is a family biography or a teacher and apprenticeship. Most of them are not easy to show and outsiders. In the Qing Dynasty, the conditions of the machine were maturing, and the traditional portrait painting works were relatively concentrated. They were Jiang Ji's writings of the legend of mystery, written by Ding Gao, and Shen Zongqian's "Mustard boat learning". A portrait is written in theory, so it inherits many outstanding painting ideas and views of the former generation, and also has his own views on the art of portrait painting, which embodies the overall artistic features of the portrait of this period.
The appearance of the development of the portrait painting in the Qing Dynasty has its special reasons. It is influenced by various factors such as economic, political, diplomatic and artistic communication at that time. It has formed the unique artistic features of the Qing Dynasty and the style characteristics of the portrait of the portrait. As the starting point of the discussion, we use a large number of academic quotations, use hand-painted portrait painting steps and examples (including examples and pictures), use contrast, analysis, and other methods to elaborate the full text. The summary of the experience is the integration of the author's aesthetic and artistic views, which shows the experience of his whole life experience, but on the whole, it is also a comprehensive reflection of the portraits of the time. From the aesthetic point of view, painting is an aesthetic experience formed by the development of human practice to a certain stage, and a view of life. Inspection, perception and thinking are the reflection of the painter to the objective things, especially in the drawing process of the portrait. The painter is not only influenced by his own aesthetic concept, but also by the infection of the spirit of the painted person, the form of the depicted object and the inner God, which contains only the Chinese philosophy, the world. View, from the traditional Chinese culture to understand the unique charm of Chinese figure painting art. The main purpose of this article is to trace the thinking mode and cognitive style of Chinese traditional portrait painting, and to enter the deep heart of the traditional portrait painter, and observe the thoughts of the narrator from the words he discussed. In this book, we can distinguish and analyze the unique aesthetic and value of Chinese traditional portrait painting.

【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

【参考文献】