石涛绘画美学思想与山水画创作之间的关系
发布时间：2018-12-17 22:58
【摘要】：石涛，中国绘画史上一位不可多得的画家，其思想富有独创性，其认识富有开拓性，其实践富有启迪性，其绘画理论对于近现代中国画的发展与变革有着重要的指导意义。石涛的晚年理论作品《画语录》更是对前人的批判性总结和对后世中国画创作提供了另一种思维方式。石涛主张师法自然，主张自我个性的表现，，他是复古主义最强烈的反对者。他有论句“师古人之迹而不师古人之心”的画家是绝不能在艺术上出人头地的，进而提出画家要“搜尽奇峰打草稿”。 石涛的绘画美学思想核心范畴就是人们常说的“一画论”，这“一画论”仁者见仁，智者见智，众说纷纭，无外乎从佛家，道家，儒家，《易经》，以及一笔学说这几个方面来论及“一画”的意义。“一画”论是石涛《画语录》的理论精髓，也是石涛《画语录》从始至终核心纲领的贯穿，其内涵深奥，文笔奇特，将绘画原理与笔墨技法的有机结合，无论是他的“蒙养生活论”、“尊受章”等等都融入了前代画论家所没有涉猎的，并全面深入的揭示了中国山水画在笔墨、取法的审美本质，为画家在绘画创作中如何获得身心自由畅快这一根本性的问题做了明确阐释，把中国画的创作思想提升到了哲学本意的高度，对后世的中国绘画美学思想的影响可谓极其深远。 本文第一章从石涛的生卒经历入手，将石涛的生卒年分作了对比与研究，得出众多石涛研究者呼声最高的年份，同时将石涛的个人经历简要分析，列出个人经历对《画语录》的形成产生的影响。第二章着重对石涛《画语录》绘画美学思想进行深入研究，承接第一章石涛的个人经历，阐释儒、释、道思想学说对于石涛美学思想的影响，从而引出下文。第三章则是从石涛的作品入手，检验石涛《画语录》美学思想在石涛作品中的体现以及运用，对与石涛的各个时期的作品进行简要分析，又从石涛的作品题跋中找出石涛各个时期署名的不同之处，浅析了石涛字号中的美学意蕴，这些名号也是《画语录》思想形成的必不可少的部分。第四章从石涛画论、画作以及题跋中独立论述石涛早期、中期、晚期的作品风格及美学思想，来阐述石涛山水画画风的转变与其美学追求。第五章阐述石涛的绘画思想及山水画作对于后世画家的影响，通过这些影响来体现石涛对中国近现代美术史起到了至关重要的作用，影响了一代又一代绘画人。
[Abstract]:Shi Tao, a rare painter in the history of Chinese painting, whose ideas are original, his understanding is full of pioneering, his practice is full of enlightenment, his painting theory has important guiding significance for the development and reform of modern Chinese painting. Shi Tao's theoretical works of painting quotation in his later years provide another way of thinking to the critical summary of predecessors and the creation of Chinese painting in later generations. Shi Tao is the strongest opponent of retro-ism. He said that painters who "learn the traces of the ancients, but not the hearts of the ancients" must never stand out in art, and then put forward that the painters should "search for strange peaks and make drafts." The core category of Shi Tao's aesthetic thinking of painting is what people often call "one painting theory." this "one painting theory" has different opinions and opinions, nothing more than Buddhism, Taoism, Confucianism, the Book of changes. And a brushstroke theory these several aspects to discuss the meaning of "one painting". The theory of "one painting" is the theoretical essence of Shi Tao's "drawing quotation", and it is also the penetration of Shi Tao's "painting quotation" from the beginning to the end. Its connotation is profound, its writing is peculiar, and it organically combines the principle of painting with the technique of brush and ink. Whether his "Mengyang life theory", "respect for the seal" and so on, all of which were not dabbled in by the previous generation of painting theorists, and comprehensively and deeply revealed the aesthetic essence of Chinese landscape painting in the ink and brush painting, the method of drawing, and so on. For the painter in painting how to obtain the freedom of body and mind in the creation of the fundamental issue of a clear explanation, the creation of Chinese painting thought to the philosophical level, the later Chinese painting aesthetic thought can be said to be extremely far-reaching. The first chapter of this paper starts with Shi Tao's birth and death experiences, compares and studies the birth and death years of Shi Tao, and draws the most appealing years for many Shi Tao researchers, and briefly analyzes Shi Tao's personal experience. List the impact of personal experience on the formation of the Picture Quotations. The second chapter focuses on the deep study of Shi Tao's painting aesthetic thought, and carries on the personal experience of the first chapter, explaining the influence of Confucianism, Buddhism and Taoism on Shi Tao's aesthetic thought, which leads to the following. The third chapter starts with Shi Tao's works, tests the embodiment and application of Shi Tao's aesthetic thought in Shi Tao's works, and briefly analyzes the works of each period with Shi Tao. From the inscription and postscript of Shi Tao's works, the author finds out the differences in the signing of Shi Tao's each period, and analyzes the aesthetic implication in the name of Shi Tao, which is also an indispensable part of the formation of the thought of "drawing quotation". The fourth chapter discusses the style and aesthetic thought of Shi Tao's works in the early, middle and late period from the view of Shi Tao's painting, painting and postscript, to expound the transformation of Shi Tao's landscape painting style and its aesthetic pursuit. The fifth chapter elaborates Shi Tao's painting thought and the landscape painting's influence to the later generation painter, through these influence to embody Shi Tao to the Chinese modern art history has played the vital role, has influenced generation after generation painting person.
【学位授予单位】：鲁东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212;J201
本文编号：2384915
[Abstract]:Shi Tao, a rare painter in the history of Chinese painting, whose ideas are original, his understanding is full of pioneering, his practice is full of enlightenment, his painting theory has important guiding significance for the development and reform of modern Chinese painting. Shi Tao's theoretical works of painting quotation in his later years provide another way of thinking to the critical summary of predecessors and the creation of Chinese painting in later generations. Shi Tao is the strongest opponent of retro-ism. He said that painters who "learn the traces of the ancients, but not the hearts of the ancients" must never stand out in art, and then put forward that the painters should "search for strange peaks and make drafts." The core category of Shi Tao's aesthetic thinking of painting is what people often call "one painting theory." this "one painting theory" has different opinions and opinions, nothing more than Buddhism, Taoism, Confucianism, the Book of changes. And a brushstroke theory these several aspects to discuss the meaning of "one painting". The theory of "one painting" is the theoretical essence of Shi Tao's "drawing quotation", and it is also the penetration of Shi Tao's "painting quotation" from the beginning to the end. Its connotation is profound, its writing is peculiar, and it organically combines the principle of painting with the technique of brush and ink. Whether his "Mengyang life theory", "respect for the seal" and so on, all of which were not dabbled in by the previous generation of painting theorists, and comprehensively and deeply revealed the aesthetic essence of Chinese landscape painting in the ink and brush painting, the method of drawing, and so on. For the painter in painting how to obtain the freedom of body and mind in the creation of the fundamental issue of a clear explanation, the creation of Chinese painting thought to the philosophical level, the later Chinese painting aesthetic thought can be said to be extremely far-reaching. The first chapter of this paper starts with Shi Tao's birth and death experiences, compares and studies the birth and death years of Shi Tao, and draws the most appealing years for many Shi Tao researchers, and briefly analyzes Shi Tao's personal experience. List the impact of personal experience on the formation of the Picture Quotations. The second chapter focuses on the deep study of Shi Tao's painting aesthetic thought, and carries on the personal experience of the first chapter, explaining the influence of Confucianism, Buddhism and Taoism on Shi Tao's aesthetic thought, which leads to the following. The third chapter starts with Shi Tao's works, tests the embodiment and application of Shi Tao's aesthetic thought in Shi Tao's works, and briefly analyzes the works of each period with Shi Tao. From the inscription and postscript of Shi Tao's works, the author finds out the differences in the signing of Shi Tao's each period, and analyzes the aesthetic implication in the name of Shi Tao, which is also an indispensable part of the formation of the thought of "drawing quotation". The fourth chapter discusses the style and aesthetic thought of Shi Tao's works in the early, middle and late period from the view of Shi Tao's painting, painting and postscript, to expound the transformation of Shi Tao's landscape painting style and its aesthetic pursuit. The fifth chapter elaborates Shi Tao's painting thought and the landscape painting's influence to the later generation painter, through these influence to embody Shi Tao to the Chinese modern art history has played the vital role, has influenced generation after generation painting person.
【学位授予单位】：鲁东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212;J201
【参考文献】
相关期刊论文 前1条
1 唐俊明;关于“尊受章”的解释[J];美术研究;1982年01期
本文编号：2384915
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