论山水画创作过程中的笔墨韵势

发布时间：2018-07-11 09:40

本文选题：“势” + “气韵”　；参考：《山西师范大学》2017年硕士论文

【摘要】：中国绘画作为中国特有的一种绘画风格和形式,发展至今已有两千多年的悠久历史,而魏晋时期出现真正意义上的绘画作品就已经有1500余年的历史,介于中国文化的传承和发展促使中国绘画形成了一整套成熟的理论和成果。在中国文化中最为人熟知的是对事物形神之分理论学说,在生活中的任何一个领域都融合者形神并重的文化底蕴,在中国古绘画中也融合了这一观点并将其特点应用的淋漓尽致,形神并重缺一不可,所谓的“形”可以解释为“势”,“神”可以解释为“气韵”。“势”整是章法的体现,画中“筋骨”体现是“气韵”神韵的体现,画中内容所体现的是山水之象。两者相续并存,当然气韵必然为首要。创作中气韵与势相续并存,贯穿于画中,山石林麓,山峦叠嶂,气韵显现其中,远景取势,近景取质,浑圆一体。在实践创作中了解古法,应用其中,自然气韵,全齐于画中。中国绘画讲其形神兼备,此为中国画中最高境界,也是中国绘画独立的审美价值。在中国山水画中“气韵”与“势”的关系,包括创作中取势的法则在本文中分为三大部分进行了详细的解释和论述。在本文的第一章节中重点阐述了中国绘画中的“势”。“势”在中国绘画的结构形式当中占有非常重要的地位,而取势的好坏又直接影响到画中“气韵”的表现,好的作品取势是起到关键的作用之一。文中所论述的就是就是取势的重要性和作用。第一章第二节中阐述的是山势在创作中起到的作用和意义。在山水画中尤其是以山为题的创作中,山势的表现最为重要,其中山势所体现出的“气势”与“气韵”最为直接,是由表及里的一种体现形式,起到了以形传神的的一种效果。在本文的第三章里则是阐述了在创作中通过笔墨的节奏和运行所表现出的“势”与“气韵”使得创作形神兼备,画者笔先,笔者气韵先。通过对势和气韵的阐述,从而也说明了中国山水画对“势”与“气韵”的表现最为重视和应用,山水画是通过对山势的描写表现了自然之气,山势之势的形式,决定了“气韵”的高低,因而也决定了山水画优劣的品质,在创作中取势之象,用山势贯穿通画中之“气韵”,注重笔墨的不同气势,在这基础之上注意整体山势的气势和局部景物的穿插运动关系,,处理好画中各种“势”的微妙关系,画中的“气韵”才能表现的淋漓尽致,跃然于纸上。第四章和第五章则是对创作中笔墨、塑造上的一些个人见解及创作方案,还有就是创作的手法级特点,通过对“气韵”、“势”、笔法、墨法及塑造的分析和应用,为我本人《马铺山游记》的作品起到了一个理论支撑的作用,从而更好的创作好这一系列的作品,将文中所述的要点描绘于作品之中,表现出游记中山势气韵之美。
[Abstract]:As a unique style and form of painting in China, Chinese painting has a long history of more than two thousand years, and the emergence of real paintings in the Wei and Jin dynasties has a history of more than 1500 years. Between the inheritance and development of Chinese culture, Chinese painting formed a set of mature theory and achievements. What is most well known in Chinese culture is the theory of the division of things into shapes and spirits. In any field of life, there is a cultural foundation in which people attach equal importance to form and spirit. In ancient Chinese painting, this viewpoint is also combined and its characteristics are applied incisively and vividly. The so-called "form" can be interpreted as "potential" and "God" as "charm". The whole "potential" is the embodiment of the composition, the "bones and bones" in the painting is the embodiment of the "charm", and the content of the painting is the image of the mountains and rivers. The two continue to coexist, of course, the spirit of the first. In the creation, charm and potential coexist, run through the painting, the foothills of the mountains and forests, mountains, peaks, charm show among them, the prospect of potential, close-range quality, rounded body. In practice, understanding the ancient method, the application of which, natural charm, all in line with the painting. It is the highest state of Chinese painting and the independent aesthetic value of Chinese painting. The relationship between "charm" and "potential" in Chinese landscape painting, including the principle of taking potential in creation, is explained and discussed in detail in this paper. In the first chapter of this paper, the focus of the Chinese painting in the "potential". "potential" plays a very important role in the structural form of Chinese painting. What is discussed in this paper is the importance and function of taking potential. The first chapter, the second section, expounds the role and significance of the mountain in the creation. In landscape painting, especially in the creation of mountain painting, the performance of mountain is the most important, in which the "momentum" and "charm" embodied by the mountain is the most direct, and it is a form of reflection from the surface to the inside. In the third chapter of this paper, the author expounds the "potential" and "spirit" in the creation by the rhythm and operation of the pen and ink, making the creation form and spirit, the painter first, the author first. Through the elaboration of potential and charm, it also shows that Chinese landscape painting attaches the most importance and application to the expression of "potential" and "charm". Landscape painting shows the natural spirit and the form of mountain potential through the description of mountain situation. It determines the level of "charm", and therefore determines the quality of landscape painting. In the process of creation, it takes the image of the potential, runs through the "spirit" of the painting with the mountain, and pays attention to the different momentum of the pen and ink. On this basis, attention should be paid to the relationship between the momentum of the whole mountain and the interspersed motion of the local scenery, and the subtle relationship between the various "potentials" in the painting should be handled well, and the "charm" in the painting could be shown vividly and vividly on the paper. The fourth and fifth chapters are the analysis and application of some personal opinions and creative schemes in the creation of strokes and ink, as well as the characteristics of creative techniques, through the analysis and application of "Qiyun", "potential", strokes, ink techniques and moulding. It has played a theoretical support role for my works, thus better creating this series of works, the main points described in the text are described in the works, showing the beauty of the mountain style in the travels.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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