从“乱山藏古寺”谈“藏”在中国画创作中的妙用

发布时间：2018-06-18 16:58

本文选题：藏 + 含蓄　；参考：《河北师范大学》2013年硕士论文

【摘要】：中国画家用他们独特的词汇，注释着人类心灵的自由。中国画对真实物象的再传达不像西方油画那样逼真，可以说是材料上的差异以及文化根基的迥异，导致欣赏过程也是有所不同的。中国绘画的审美是通过联想，启发欣赏者产生画外之境、迁想妙得的过程，画面不拘泥于本身所呈现的状况，更通过与观者的互动，得到无限的画境。本文由东晋画家顾恺之的《洛神赋图》中，洛神凌波微步的貌美身姿让人印象深刻，，飘逸的衣带让人联想到轻盈飒爽的微风，为画面增加了流动感。而邓椿《画继》一记载“画学”为选拔优秀绘画人才所出试题“乱山藏古寺”引发“藏”在中国画创作的妙。本文通过分析“藏”在中国绘画中的规律性以及手法的运用，并附加论述中国姊妹艺术对“藏”的体现，对近当代中国画艺术作品的简单分析，得出“藏”的艺术规律对于今天中国绘画创作的沿用。中国优秀传统绘画作品《洛神赋图》对“藏”的体现融合在人物形象刻画之中，加之宋代“画学”所出试题，“乱山藏古寺”的“藏”引发本论文的探讨点。1、“藏”在绘画创作中的规律性体现，分为五点展开论述：包括文人画与“藏”、“藏”与“意境”“格调”、“藏”与“悟性”、“悟理”等艺术规律的分析，得出“藏”在中国传统绘画中所起到的作用及意义。最后将中国相关的艺术文化进行简要分析，来论述“藏”在中国文化根基里的一脉相承，相互融汇贯通。2、“藏”在传统中国画创作中手法的运用，包括“藏”与环境的描绘、计白当黑的中国画布局特色、在形象刻画中的选取，进一步阐述“藏”在实践中的运用。以及“藏”的手法在近当代绘画中的沿用。3、“藏”即含蓄，也是中国传统哲学思想的演变得出的，中国的各种艺术门类，思想相互贯通，然而都是以哲学思想为根基。“藏”的艺术规律大致是通过联想得出的，而艺术手法可以概括为“迁想妙得”，不同的视觉点产生不同的感受，画的意味也就不同了。
[Abstract]:Chinese painters use their unique vocabulary to annotate the freedom of the human mind. The re-transmission of real objects in Chinese painting is not as realistic as in western oil painting. It can be said that the difference in material and cultural foundation leads to different appreciation process. The aesthetic of Chinese painting is through association, enlighten the viewer to produce the scene outside the painting, move the process of thinking wonderful, the picture is not confined to the situation presented by itself, but also through the interaction with the viewer, get an infinite picture. In this paper, by the Eastern Jin Dynasty painter Gu Kaizhi's "Luoshen Fu Chart", the beautiful posture of the Lorraine Lingbo is impressive, and the flowing feeling of the picture is increased by the elegant clothing belt which is reminiscent of the light and cool breeze. Deng Chun's painting is followed by a record of "painting study" for the selection of outstanding painting talent out of the test question, "chaos mountain Tibetan temple" triggered "Tibetan" in the creation of Chinese painting wonderful. This paper analyzes the regularity and technique of "Tibet" in Chinese painting, and discusses the embodiment of "Tibetan" in Chinese sister art, and a simple analysis of contemporary Chinese painting works. The art law of "Tibet" is used in Chinese painting today. The embodiment of "Tibet" in the Chinese excellent traditional painting works "Luoshen Fu" is combined in the portrayal of the characters, in addition to the examination questions of "painting study" in the Song Dynasty. The discussion point of "Tibet" in "chaos mountain and ancient Tibetan temple" triggered this thesis. The regular embodiment of "Tibet" in painting creation is divided into five points: literati painting and "Tibet", "Tibetan" and "artistic conception" style ". Based on the analysis of the art law of "Tibet", "comprehension" and "understanding reason", the function and significance of "Tibet" in Chinese traditional painting are obtained. In the end, the author briefly analyzes the art and culture of China, and discusses the relationship between "Tibet" and traditional Chinese painting, including the description of "Tibet" and the environment, and the combination of "Tibet" and "Tibetan" in the creation of traditional Chinese painting. The feature of Chinese painting layout, the selection of image depiction, the further elaboration of the application of "Tibet" in practice. As well as the "Tibetan" in the recent contemporary painting in the use of. 3, "Tibet" is implicit, but also the evolution of Chinese traditional philosophy, Chinese art categories, ideas, but are based on philosophy. The art law of "Tibet" is generally obtained by association, but the artistic technique can be summarized as "moving to think well", different visual points produce different feelings, and the meaning of painting is different.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】