中国画树法研究

发布时间：2018-06-22 16:43

本文选题：中国画 + 树法　；参考：《南京师范大学》2014年硕士论文

【摘要】：本文首先以早期作品中出现的树木形象为切入点,通过对搜集整理的大量资料进行分析解读,试图还原树法形成的清晰脉络,即从早期作品中的树木图腾形象到中期建筑、漆绘等艺术中的树木纹饰,再到魏晋南北朝时期纯绘画作品中树法的出现,进而结合马斯洛的需求层次理论论证：形成这一脉络的根本原因是由一整套从低到高不断提升、不断超越的人类需求所决定的。第二部分为山水画形成以后树法的风格演变研究。山水画在隋唐以后独立成科,并逐渐成为画坛主流,这也推动了树法表现形式的丰富与发展。树法在大致上经历了三次蜕变,次是隋唐时期从人物画背景中脱离出来的相对工致的青绿勾填设色树法,第二次是五代两宋时期纯水墨表现树法的形成,三是元明清时期文人画和写意画中树法笔墨情趣的产生与发展。在对各个时期的典型案例进行研究的同时,笔者也发现树法并非按照严格意义上的流派和程式传承的,古人很注重继承与创新的关系。只不过是后人对某个阶段、某种风格树法的认识和界定过于狭隘。此外从审美角度来说,树法在中国画中占有重要的地位和作用。客体方面,自然界中的树木品类繁多、千姿百态,具有丰富的形式美感,这一自然属性客观上决定了树法的表现方法和形式；主体方面,树法中蕴含的某些形质和品性符合画家的道德观照、情感寄托和审美追求；从本体方面来说,树法作为中国画的构成要素之一,它在画面中的大小、曲直、虚实、经营位置以及疏密关系等的对比、变化,对整幅画面的节奏和效果都起着重要作用。
[Abstract]:In this paper, the tree image appeared in the early works as a breakthrough point, through the collection of a large number of data analysis and interpretation, trying to restore the tree method formed a clear context, that is, from the early works of the tree totem image to the medium-term architecture, The tree ornaments in painting and other arts, from the appearance of tree method in the pure painting works of Wei, Jin and Southern and Northern dynasties, and then combined with Maslow's theory of hierarchy of needs, proved that the fundamental reason for forming this vein was the continuous promotion from a whole set of low to high. It is determined by the unceasing need of man. The second part is the style evolution of landscape painting after the formation of the tree method. Landscape painting became an independent branch after Sui and Tang dynasties, and gradually became the mainstream of painting, which also promoted the richness and development of the expression form of tree method. The tree method has undergone three metamorphosis in general, the second is the relative green hook and color-setting tree method, which separated from the background of the figure painting in Sui and Tang dynasties, and the second time is the formation of pure ink painting performance tree method in the five dynasties and two Song dynasties, the second time is the formation of the pure ink painting performance tree method in the five dynasties and two Song dynasties. Third, the appearance and development of the style of calligraphy and ink in literati painting and freehand brushwork in Yuan, Ming and Qing dynasties. In the study of typical cases in each period, the author also found that the tree law was not inherited according to strict schools and procedures, and the ancients attached great importance to the relationship between inheritance and innovation. It is only that the later generations are too narrow in understanding and defining a certain style tree method at a certain stage. In addition, from the aesthetic point of view, the tree plays an important role in Chinese painting. On the object side, there are many kinds of trees in nature, which have rich aesthetic sense of form. This natural attribute objectively determines the expression method and form of tree law. Some of the shape and character contained in the tree method accord with the artist's moral view, emotional sustenance and aesthetic pursuit. From the aspect of ontology, the tree method, as one of the elements of Chinese painting, is in the picture, its size, curl and reality. The contrast and change of management position and close relationship play an important role in the rhythm and effect of the whole picture.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】