王履“师造化”探微

发布时间：2018-06-08 13:26

本文选题：王履 + 华山图册　；参考：《南京师范大学》2013年硕士论文

【摘要】：起于北宋后期的抒情写意山水画,到元代发展至成熟的高峰,而且到明初一直是画坛的主流,文人画达到“写意”之巅,而属于马夏等人的南宋画院画家的艺术渐遭冷落。在当时“逸笔草草,不求形似,聊以写胸中逸气”的思想在画坛占据着主导地位的背景下,曾出现了画家了对于“形”和“意”认识上的混乱。而在元末明初的画坛上,王履是一个值得我们注意的画家。他是一个继承“师造化”传统而又有所创新的山水画家和理论家。而《华山图册》的出世,无疑是为当时的山水画坛吹进了一缕新鲜空气。他不盲目追随画坛主流,而独独选择渐遭冷落的马、夏等南宋传统。在登临华山时,为华山的雄奇险峻之势所震撼,“遇胜则貌”,为后来《华山图册》的创作提供了“粉本”,途中还作了记、诗等。如果没有目见到真的华山,怎么能画出如此具有现实感的华山呢?王履用亲身实践理直气壮地论证了“师造化”的重要性,只有“师造化”才能冲出陈旧的条条框框,对客观事物有新的体会和看法,才能使作品有出新的可能。所以当别人惊异地问何师时,他回答曰：“吾师心,心师目,目师华山”,强调了山水画创作中师法自然的重要性,虽然对于艺术创作来说,不仅仅要“师心、师目、师华山”,最终还是要回归到“师心”上,但这一思想在当时画坛已经具有很大的进步意义。当然,理解这句经典之句需要清楚王履是在“师古人”即师传统的前提之下提出的。本文以王履“师造化”为切入点,通过与后世同样师造化并有所成就的画家做比较分析研究,发现前人解决问题的方式方法,看他们如何跳出传统程式规范,以便更加深入地了解“师造化”,更好地为山水画的创作打好基础。
[Abstract]:From the late Northern Song Dynasty, the lyrical landscape painting developed to the peak of maturity in Yuan Dynasty, and until the beginning of Ming Dynasty, literati painting reached the top of "freehand brushwork", but the art of Southern Song painters, who belong to Ma Xia and others, was neglected gradually. At that time, the idea of "easy-brush, not likeness, talking to write the spirit in the chest" occupied a dominant position in the painting world, and there was confusion in the understanding of "form" and "meaning" by the painters. In the painting world of late Yuan and early Ming Dynasty, Wang Li was a painter worthy of our attention. He is a traditional and innovative landscape painter and theorist. The birth of Huashan Atlas was undoubtedly a breath of fresh air for the landscape painting world at that time. He did not blindly follow the mainstream of painting, but only chose the neglected horse, Xia and other Southern Song traditions. At the time of climbing Huashan, it was shocked by the magnificent and precipitous tendency of Huashan Mountain. It provided a "pink book" for the later creation of the Atlas of Huashan, and also made notes, poems, and so on. If you don't see the real Huashan, how can you draw such a realistic Huashan? Wang Li-li justifies the importance of "teacher creation" with his own practice. Only "teacher creation" can break out of the old rules and regulations, have new experience and view on objective things, and make the works have new possibilities. So when others asked Ho Shih in amazement, he replied, "my teacher's heart, his mind, his eyes, and his eyes," stressed the importance of learning from nature in the creation of landscape painting, although for artistic creation, he should not only "master the mind, but teach the mind." Shihua Mountain, finally, should return to the mind of the teacher, but this thought has already made great progress in the painting world at that time. Of course, to understand this classic sentence, we need to make it clear that Wang Lui was put forward under the premise of "teacher ancients" or "teacher tradition". This paper takes Wang Li's "teacher's creation" as the starting point, through comparative analysis and research with the painters who have made great achievements in later generations, finds out the ways and means of solving the problems of the predecessors, and sees how they can jump out of the traditional program standard. In order to better understand the "division", better for the creation of landscape painting to lay a good foundation.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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