传统山水画中的渔父形象研究
发布时间：2019-03-02 09:27
【摘要】：作为东方文化的代表，写意是中国传统文化的灵魂，每一幅作品都流露出画家的审美态度和精神情感，表达画家的主观意识。中国传统文化讲究含蓄，很少直抒胸臆，总习惯用托物言志的方式抒发情怀。故历史上出现了许多审美符号，被赋予了精神情感意义的标签。渔父就是这样一种倍受青睐的审美符号。丰富的文化内涵，深刻的哲学意义让他成为历代文人墨客心中挥之不去的情节。在中国隐逸史上，鱼隐是一种隐于水的方式。“古来贤哲，多隐于渔”(刘克庄《木兰花慢渔父词》)，故“渔”这一作业就被赋予了深厚的内涵，“渔父”这一形象也就成为了追求隐逸的典型。他既表现了文人高蹈，放达，闲适的情怀，又含蓄的表达出对强权不合作的反抗。可以这样说，“渔父”是中国古代绘画的审美情结，也是中国山水画发展的的见证人。 本文除绪论、结语外，正文分三个章节来论述。第一章对渔父形象的文化起源做了考证，并对渔父形象的表现形式进行的分析概括，总结出了不同的类型。第二章分析了渔父形象表现的隐逸情结。通过隐逸文化发展对渔父形象背后隐逸情结的影响，得出了五个典型性的隐逸类型。第三章则是分析探讨了渔父形象多表现的非隐逸情结。是对渔父形象等同隐逸形象这一说法的驳斥。
[Abstract]:As the representative of oriental culture, freehand is the soul of Chinese traditional culture. Every work shows the artist's aesthetic attitude and spiritual emotion, and expresses the painter's subjective consciousness. Chinese traditional culture pays attention to implicature, very few express one's mind directly, the general habit is to express feelings in the way of supporting things and expressing aspirations. Therefore, there are many aesthetic symbols in history, which are given the label of spiritual and emotional meaning. The fisherman is such a popular aesthetic symbol. Rich cultural connotation and profound philosophical significance make him a lingering plot in the hearts of literati of all dynasties. In Chinese history, fish hiding is a way of hiding in water. "Ancient sage and Zhe, more hidden in fishing" (Liu Kezhuang "Magnolia slow fishing father"), so "fishing" this work has been given a profound connotation, the "fisherman" this image has become the pursuit of seclusion typical. He not only showed the literati's high dance, leisurely, relaxed feelings, but also implicitly expressed the resistance to power and non-cooperation. It can be said that "Fisherfather" is the aesthetic complex of ancient Chinese painting, but also the witness of the development of Chinese landscape painting. In addition to the introduction, conclusion, the main text is divided into three chapters to discuss. The first chapter makes a textual research on the cultural origin of the image of the fisherman, and analyzes and generalizes the expression forms of the image of the fisherman, and sums up the different types of the image of the fisherman. The second chapter analyzes the recluse complex of the image of the fisherman. Through the influence of the development of hermit culture on the hermit complex behind the image of the fisherman, five typical recluse types are obtained. The third chapter is to analyze and discuss the non-seclusion complex of the image of the fisherman. It is a refutation of the statement that the image of the fisherman is the same as the image of seclusion.
【学位授予单位】：江苏师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2432920
[Abstract]:As the representative of oriental culture, freehand is the soul of Chinese traditional culture. Every work shows the artist's aesthetic attitude and spiritual emotion, and expresses the painter's subjective consciousness. Chinese traditional culture pays attention to implicature, very few express one's mind directly, the general habit is to express feelings in the way of supporting things and expressing aspirations. Therefore, there are many aesthetic symbols in history, which are given the label of spiritual and emotional meaning. The fisherman is such a popular aesthetic symbol. Rich cultural connotation and profound philosophical significance make him a lingering plot in the hearts of literati of all dynasties. In Chinese history, fish hiding is a way of hiding in water. "Ancient sage and Zhe, more hidden in fishing" (Liu Kezhuang "Magnolia slow fishing father"), so "fishing" this work has been given a profound connotation, the "fisherman" this image has become the pursuit of seclusion typical. He not only showed the literati's high dance, leisurely, relaxed feelings, but also implicitly expressed the resistance to power and non-cooperation. It can be said that "Fisherfather" is the aesthetic complex of ancient Chinese painting, but also the witness of the development of Chinese landscape painting. In addition to the introduction, conclusion, the main text is divided into three chapters to discuss. The first chapter makes a textual research on the cultural origin of the image of the fisherman, and analyzes and generalizes the expression forms of the image of the fisherman, and sums up the different types of the image of the fisherman. The second chapter analyzes the recluse complex of the image of the fisherman. Through the influence of the development of hermit culture on the hermit complex behind the image of the fisherman, five typical recluse types are obtained. The third chapter is to analyze and discuss the non-seclusion complex of the image of the fisherman. It is a refutation of the statement that the image of the fisherman is the same as the image of seclusion.
【学位授予单位】：江苏师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
【参考文献】
相关期刊论文 前4条
1 高昂星;归动于静的和谐美——从传统山水画的发展看民族审美意识[J];河西学院学报;2004年03期
2 张繁文;绘画史上的渔父情结[J];南京艺术学院学报(美术与设计版);2005年01期
3 梓荃;;身隐名愈显 淡泊品更高——我国古代渔隐题材绘画作品浅述[J];收藏界;2011年02期
4 潘丽莉;漫谈山水画中的“渔父”意象美[J];艺术探索;2004年02期
，本文编号：2432920
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2432920.html
