从戴熙《习苦斋画絮》的美学观点论其绘画风格的递变过程
发布时间：2019-02-24 20:59
【摘要】：十九世纪的中国进入清末的道咸时期，而十九世纪前期的中国画坛，以独特的方位和轨迹，也在经历着变革，在前期的画家中，戴熙占有者举足轻重的位置，戴熙作为道光、咸丰年间的传统中国文人画家和汤贻汾并称为“汤、戴”。特别是戴熙的山水画代表了这一时期的时代水平，戴熙创造了属于自己的独特的绘画风格。因而戴熙绘画风格形成的递变过程也就具有了一定的理论研究价值。《习苦斋画絮》又题为《戴文节题画笔记类编》原是戴熙的日记手录，，多是题画跋文。后经其孙兆春编次成书。也是戴熙绘画风格递变过程中的审美观念。戴熙在《习苦斋画絮》中也论述了多个美学观点。其主要的美学观点有“画其神”、“师法造化”、“四美观”、戴熙在绘画中强调灵感的作用，“空灵”称为其绘画的最高审美理想。这些美学观点在古人观点的一些阐述和辩析之上，戴熙对“四美观”具有了独特的创造性认识，所以“四美观”也就成为了戴熙《习苦斋画絮》中最为重要的美学观点。这些美学观点都体现在戴熙绘画风格的递变过程中。本文在分析《习苦斋画絮》四个主要的美学观的基础上，深入论述戴熙绘画风格的递变过程。戴熙的绘画风格从含蓄秀雅空灵精致到深邃厚密，然后再到追踪尚古，画外之画、画外之意，直至形成自己独特的绘画风格。本文结合戴熙《习苦斋画絮》中的重要美学观点系统分析戴熙绘画风格的递变过程。
[Abstract]:In the 19th century, China entered the period of Daoxian in the late Qing Dynasty, while in the early nineteenth century, the Chinese painting world, with its unique orientation and track, was also undergoing transformation. Among the early painters, Dai Xi occupied a pivotal position in the possession of the painter, Dai Xi as the Tao Guang. Xianfeng traditional Chinese literati painter and Tang Yifen as "Tang, Dai." In particular, Dai Xi's landscape painting represents the age level of this period, Dai Xi created his own unique painting style. Therefore, the gradual change of Dai Xi's painting style has certain theoretical research value. The book was later compiled by Sun Zhaochun. It is also the aesthetic concept in the process of Dai Xi's painting style changing. Dai Xi also discusses a number of aesthetic viewpoints in Xiluzhai paintings. His main aesthetic viewpoints are "painting his god", "imitating the law", "four aesthetics", Dai Xi emphasizes the role of inspiration in painting, "emptiness" is the highest aesthetic ideal of his painting. These aesthetic viewpoints are based on some exposition and analysis of ancient viewpoints, Dai Xi has a unique creative understanding of "four Aesthetics", so "four Aesthetics" has become the most important aesthetic viewpoint in Dai Xi's works of painting in Xiluzhai. These aesthetic viewpoints are embodied in the gradual change of Dai Xi's painting style. On the basis of analyzing the four main aesthetic views of Xiluzhai painting, this paper deeply discusses the gradual process of Dai Xi's painting style. Dai Xi's painting style is from subtle elegant and empty to deep and thick, and then to tracing Shang Gu, painting outside, the meaning of painting, until the formation of his own unique painting style. This paper systematically analyzes the gradual process of Dai Xi's painting style in combination with the important aesthetic point of view in Dai Xi's works of painting Xiluzhai.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2429927
[Abstract]:In the 19th century, China entered the period of Daoxian in the late Qing Dynasty, while in the early nineteenth century, the Chinese painting world, with its unique orientation and track, was also undergoing transformation. Among the early painters, Dai Xi occupied a pivotal position in the possession of the painter, Dai Xi as the Tao Guang. Xianfeng traditional Chinese literati painter and Tang Yifen as "Tang, Dai." In particular, Dai Xi's landscape painting represents the age level of this period, Dai Xi created his own unique painting style. Therefore, the gradual change of Dai Xi's painting style has certain theoretical research value. The book was later compiled by Sun Zhaochun. It is also the aesthetic concept in the process of Dai Xi's painting style changing. Dai Xi also discusses a number of aesthetic viewpoints in Xiluzhai paintings. His main aesthetic viewpoints are "painting his god", "imitating the law", "four aesthetics", Dai Xi emphasizes the role of inspiration in painting, "emptiness" is the highest aesthetic ideal of his painting. These aesthetic viewpoints are based on some exposition and analysis of ancient viewpoints, Dai Xi has a unique creative understanding of "four Aesthetics", so "four Aesthetics" has become the most important aesthetic viewpoint in Dai Xi's works of painting in Xiluzhai. These aesthetic viewpoints are embodied in the gradual change of Dai Xi's painting style. On the basis of analyzing the four main aesthetic views of Xiluzhai painting, this paper deeply discusses the gradual process of Dai Xi's painting style. Dai Xi's painting style is from subtle elegant and empty to deep and thick, and then to tracing Shang Gu, painting outside, the meaning of painting, until the formation of his own unique painting style. This paper systematically analyzes the gradual process of Dai Xi's painting style in combination with the important aesthetic point of view in Dai Xi's works of painting Xiluzhai.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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