董其昌《烟江叠嶂图》的形式分析与重构
发布时间：2018-07-28 16:40
【摘要】：本文以董其昌的《烟江叠嶂图》为例进行形式的分析和重构,不仅借用董其昌对山水画的论述,而且引用了德国包豪斯学院的康定斯基《论点线面》中对绘画元素的分析认识,希望在保持中国画理论体系完整的基础上,从西方文化近现代“分析、还原、机械”的角度来强调和补充形式因素对于笔墨表现力的支持。在董其昌眼中,“消解”与“转换”是“为了使传统成为时状的滋养物,使绘画获得创造性转换,从而摆脱时状的疲困,重新获得生机”(邵琦语)。“消解”意味着消解古人经典范式的制约,突破各门各派的门墙;“转换”意味着使经典制约成为创造性的动力。消解需要悟古,悟古需要梳理南北宗,这就是“离”;转换需要乘今,乘今需要以“士气”作为标准进行取舍选择总结,这就是“合”。本文的“形式分析与重构”正是希望体现出一部分“离”与“合”的含义,并通过实践展现出来。
[Abstract]:This paper takes Dong Qichang's "Yanjiang Dianzhang" as an example to analyze and reconstruct the form, not only by borrowing Dong Qichang's exposition on landscape painting, but also by quoting the analysis and understanding of painting elements in Kandinsky's Line of argument of Bauhaus College in Germany. On the basis of maintaining the integrity of the theoretical system of Chinese painting, the author hopes to emphasize and supplement the support of formal factors for the expressive power of ink and ink from the perspective of "analysis, reduction, machinery" in modern western culture. In Dong Qichang's eyes, "deconstruction" and "transformation" are "in order to make tradition become the nourishment of time form, to make painting obtain creative transformation, to get rid of the fatigue of time form and to regain vitality" (Shao Qi dialect). "deconstruction" means dispelling the constraints of classical paradigms of the ancients and breaking through the door walls of all parties, and "transformation" means making classical constraints become the motive force of creativity. Dissolving needs to understand the ancient times, to understand the ancient times need to comb the north and south sect, this is the "separation"; the transformation needs to multiply the present, multiply the present need to take "morale" as the criterion to choose and sum up the choice, this is the "combination". The formal analysis and reconstruction of this paper is intended to embody the meaning of "separation" and "combination" and show them through practice.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
[Abstract]:This paper takes Dong Qichang's "Yanjiang Dianzhang" as an example to analyze and reconstruct the form, not only by borrowing Dong Qichang's exposition on landscape painting, but also by quoting the analysis and understanding of painting elements in Kandinsky's Line of argument of Bauhaus College in Germany. On the basis of maintaining the integrity of the theoretical system of Chinese painting, the author hopes to emphasize and supplement the support of formal factors for the expressive power of ink and ink from the perspective of "analysis, reduction, machinery" in modern western culture. In Dong Qichang's eyes, "deconstruction" and "transformation" are "in order to make tradition become the nourishment of time form, to make painting obtain creative transformation, to get rid of the fatigue of time form and to regain vitality" (Shao Qi dialect). "deconstruction" means dispelling the constraints of classical paradigms of the ancients and breaking through the door walls of all parties, and "transformation" means making classical constraints become the motive force of creativity. Dissolving needs to understand the ancient times, to understand the ancient times need to comb the north and south sect, this is the "separation"; the transformation needs to multiply the present, multiply the present need to take "morale" as the criterion to choose and sum up the choice, this is the "combination". The formal analysis and reconstruction of this paper is intended to embody the meaning of "separation" and "combination" and show them through practice.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
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