明代“雅集”题材绘画研究
发布时间：2019-02-16 18:53
【摘要】：雅集是一种中国文人聚会、交友的方式——与志趣投合的同道或吟诗作赋,或游山赏水。自古以来,文人雅集者不胜枚数,从魏晋时期的竹林七贤,到王羲之等人曲水流觞的兰亭雅集,再到苏东坡等人的西园雅集,都为人们所熟知。与此同时,雅集也是中国绘画史上一种传统而特殊的题材。从魏晋南北朝的“金谷园之会”到隋唐时期“十八学士图”题材画作的产生,宋元时期的“西园雅集”题材更是成为了后世雅集作品的母本;宋徽宗的《文会图》所描绘的文士宴饮的场景,为南宋《夜宴图》题材的绘画打开了局面。明清时期,画家对于雅集图的创作数量达到了顶峰,不仅有大量传统题材的再现,画家更是大胆创新,加入自己的笔墨语言,创作出了不同主题的雅集作品。论文《明代“雅集”题材绘画研究》以明代的“雅集”题材绘画作品为研究对象,分析其在当时文化背景下的题材特色、艺术特征和雅集的主体——文士的社会境遇。通过对图本资料的收集、分类和比对,整合明代“雅集”作品中的画面形式、笔墨语言的特征和成因,联系绘画创作者的思想感情,讨论了相关的政治、经济、社会等诸多因素与绘画的关系,发现当时人物画背后真实的社会功能和学术价值。论文得出结论:明代“雅集”题材绘画作品呈现出理想化、怡情性、隐逸性的特征,“雅集”题材的作者虽以士阶层为主,但出现了宫廷画家的文人化、职业画家的文人化、商人追求文人化甚至隐逸化的明显转变,包括文人画家的世俗化、职业化特征也在这一题材中得到了集中的反应。因此,明代“雅集”题材绘画的描绘,涉及社会精神层面的广泛意义,和贴近生活的艺术表现视角,展现了其具有代表意义的真实面貌,证实了当时“雅集”从内容、立意、功能上的新变化新特征主要源于社会政治、经济、文化对文人生存状态的影响。重读明代“雅集”题材绘画的作品,即是正视美术史中也许会被忽视和浅显化的学术内容,以一种更为客观的态度对待那一时期的特殊审美样式、创作题材及其脉络和人文情感表达的方式,为“雅集”绘画作品的研究提供一个新视角的补充。
[Abstract]:Elegant collection is a kind of Chinese literati gathering, making friends-with the interest of the same way or poetry, or to visit the mountains and water. Since ancient times, literati elegant collection has been numerous, from the Wei and Jin dynasties bamboo forest seven sages, to Wang Xizhi and other people qu water origin of the Lanting elegant collection, to Su Dongpo and other people's West Garden elegant collection, are well known. At the same time, elegant collection is also a traditional and special subject matter in the history of Chinese painting. From "the meeting of Jin Valley Garden" in Wei, Jin and Southern and Northern dynasties to the "18th Bachelor's Pictures" painting in Sui and Tang dynasties, the theme of "West Garden elegant Collection" in Song and Yuan dynasties has become the mother of the works of later generations. The scene of the literati banquet described by Huizong in Song Dynasty opened up the situation for the painting of the subject matter of the Southern Song Dynasty. During the Ming and Qing dynasties, the number of painters' creation of elegant collections reached its peak. Not only was there a large number of reproduction of traditional themes, but also the painters were bold and innovative, adding their own pen and ink language to create works of elegant collections of different themes. In this paper, the subject matter painting of "elegant Collection" in Ming Dynasty is studied, and the theme characteristics, artistic characteristics and the social circumstances of literati, which are the subject of elegant collection, are analyzed in the context of the culture at that time. By collecting, classifying and comparing the graphic materials, integrating the picture forms in the works of "elegant Collection" of the Ming Dynasty, the characteristics and causes of the language of pen and ink, and connecting with the thoughts and feelings of the painting creators, this paper discusses the relevant politics and economy. The relationship between society and painting reveals the real social function and academic value of figure painting at that time. The paper draws a conclusion: the paintings of "elegant collection" in Ming Dynasty show the characteristics of idealization, ecstasy and seclusion. Although the writers of the theme of "elegant collection" are mainly scholars, there are literati of court painters and literati of professional painters. Businessmen pursue the obvious changes of literati and even seclusion, including the secularization of literati painters, and the characteristics of professionalization also get a concentrated response in this subject. Therefore, the depiction of the theme painting of "elegant Collection" in the Ming Dynasty involves the broad meaning of the social spiritual level and the angle of artistic expression close to life, which shows the true appearance of its representative meaning, and proves that the "elegant Collection" at that time was from the content and the intention. The new features of function are mainly derived from the influence of social politics, economy and culture on the living state of literati. Rereading the paintings on the theme of "elegant Collection" in the Ming Dynasty is to look squarely at the academic content which may be neglected and shallowly prominent in the history of fine arts, and to treat the special aesthetic style of that period with a more objective attitude. The theme of creation, its context and the way of expression of human emotion provide a new angle of view for the study of Ya Ji's painting works.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
本文编号：2424740
[Abstract]:Elegant collection is a kind of Chinese literati gathering, making friends-with the interest of the same way or poetry, or to visit the mountains and water. Since ancient times, literati elegant collection has been numerous, from the Wei and Jin dynasties bamboo forest seven sages, to Wang Xizhi and other people qu water origin of the Lanting elegant collection, to Su Dongpo and other people's West Garden elegant collection, are well known. At the same time, elegant collection is also a traditional and special subject matter in the history of Chinese painting. From "the meeting of Jin Valley Garden" in Wei, Jin and Southern and Northern dynasties to the "18th Bachelor's Pictures" painting in Sui and Tang dynasties, the theme of "West Garden elegant Collection" in Song and Yuan dynasties has become the mother of the works of later generations. The scene of the literati banquet described by Huizong in Song Dynasty opened up the situation for the painting of the subject matter of the Southern Song Dynasty. During the Ming and Qing dynasties, the number of painters' creation of elegant collections reached its peak. Not only was there a large number of reproduction of traditional themes, but also the painters were bold and innovative, adding their own pen and ink language to create works of elegant collections of different themes. In this paper, the subject matter painting of "elegant Collection" in Ming Dynasty is studied, and the theme characteristics, artistic characteristics and the social circumstances of literati, which are the subject of elegant collection, are analyzed in the context of the culture at that time. By collecting, classifying and comparing the graphic materials, integrating the picture forms in the works of "elegant Collection" of the Ming Dynasty, the characteristics and causes of the language of pen and ink, and connecting with the thoughts and feelings of the painting creators, this paper discusses the relevant politics and economy. The relationship between society and painting reveals the real social function and academic value of figure painting at that time. The paper draws a conclusion: the paintings of "elegant collection" in Ming Dynasty show the characteristics of idealization, ecstasy and seclusion. Although the writers of the theme of "elegant collection" are mainly scholars, there are literati of court painters and literati of professional painters. Businessmen pursue the obvious changes of literati and even seclusion, including the secularization of literati painters, and the characteristics of professionalization also get a concentrated response in this subject. Therefore, the depiction of the theme painting of "elegant Collection" in the Ming Dynasty involves the broad meaning of the social spiritual level and the angle of artistic expression close to life, which shows the true appearance of its representative meaning, and proves that the "elegant Collection" at that time was from the content and the intention. The new features of function are mainly derived from the influence of social politics, economy and culture on the living state of literati. Rereading the paintings on the theme of "elegant Collection" in the Ming Dynasty is to look squarely at the academic content which may be neglected and shallowly prominent in the history of fine arts, and to treat the special aesthetic style of that period with a more objective attitude. The theme of creation, its context and the way of expression of human emotion provide a new angle of view for the study of Ya Ji's painting works.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
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