元末文人山水画“野逸”之风探究

发布时间：2018-06-12 02:02

本文选题：元末 + 文人山水画　；参考：《渤海大学》2013年硕士论文

【摘要】：北宋郭若虚在《图画见闻志》中论五代花鸟“徐黄异体”，提出“黄家富贵，徐熙野逸”。黄荃、徐熙代表在朝和在野两种生存方式，也分别代表院体和士体两种审美趣味。笔者认为，相对于宋代院体山水画，元末文人山水画在前人公认的“高逸”论调下存在一定“野逸”的成分，本文以元末士体代表画家为例，论及的“野逸”包括社会环境和审美取向两方面：从社会环境上看，元末绘画的“野逸”依托于在野文人的群体性隐逸生活，处于闲适不羁的生活状态。大批遗民文人身份从职业画家转向业余画家，绘画不再为政教服务，而在自娱。这是当时社会的普遍性特征，也是野逸形成的直接原因；从审美取向上看，“野逸”是一个相对概念，是相对于前朝绘画变革的程度而言，“野”与“逸”在绘画作品中是对立统一的，由宋入元，宋代理学思想有所淡化，苏轼明确划分文人画和画工画的界限，至元末审美观发生了变异，由观物究理转向观心求性。元末山水画家“逸笔草草”中含法度与理性，与唐装饰性的金碧、青绿山水大相迥异，继宋高格、古雅之后形成率性朴拙的画风，，直抒胸臆又不脱离客体物象。其“野逸”不及清初四僧“野逸派”的狂怪，是一个继承、流变，托古改制的过程，其相对独立的笔墨趣味开启了明清后世“野逸派”画风的滥觞，起着承前启后的作用。
[Abstract]:Guo Ruoxu in the Northern Song Dynasty on the five dynasties flowers and birds "Xu Huang alien", put forward "Huang family rich, Xu Xieye Yi." Huang Quan, Xu Xi represents the two ways of living in Korea and opposition, and also represents two kinds of aesthetic taste: court style and scholar style. The author thinks that compared with the Yuan Dynasty, the literati landscape painting of the late Yuan Dynasty has a certain element of "wild life" under the theory of "Gao Yi" recognized by the forefathers. This article takes the scholar of the Yuan Dynasty as an example to represent the painter. From the point of view of the social environment, the "wild life" of the painting in the end of Yuan Dynasty is based on the group seclusion life of the opposition literati and is in the state of leisure and unruly life. A large number of literati from professional painter to amateur painter, painting no longer serve the church, but in their own entertainment. This was the universal characteristic of the society at that time, and also the direct cause of the formation of the wild Yi. In terms of aesthetic orientation, "Yeyi" was a relative concept and a relative degree to the change of painting in the previous dynasty. "Wild" and "Yi" are unity of opposites in painting works. From Song Dynasty to Yuan Dynasty, the Neo-Confucianism thought of Song Dynasty was desalinated, Su Shi clearly divided the boundary between literati painting and painters painting, until the end of Yuan Dynasty, the aesthetic standards changed, from the view of the matter to the view of the mind. At the end of the Yuan Dynasty, the painters of the late Yuan Dynasty, "the brush and grass" contain the law and reason, which is different from the decorative Jin Bi in the Tang Dynasty and the green landscape. After Song Gaoge, the quaint and elegant form a straightforward style of painting, expressing one's mind directly and not separating from the object image. It is a process of inheriting, changing and transforming the system of ancient times. Its relatively independent style of calligraphy and ink opened the origin of the painting style of "Yeyi School" in the later Ming and Qing dynasties, and played a role in connecting the past with the future.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】