王蒙《青卞隐居图》空间解读
发布时间：2019-03-16 08:17
【摘要】：中国山水画的创作与发展过程中，历朝各代都有其独立或顺延的理论体系，笔墨的运用和对画面空间的建构是中国山水画研究与创作中最为基础的两个方面。由于历代画家，特别是文人画家的偏爱与推祟，导致历代画论中关于笔墨的论述，可称之为宏博精深，对中国画的研究，也多在笔墨上做功夫，笔墨因之成为中国画的代名词。有关笔墨的大量论述，使得我们有意无意的忽视了对于空间方面的论述和研究，尽管唐代张彦远早在《论画六法》中就已经对此进行过简单的论述：“至于经营位置，则画之总要”①，但是相对于笔墨，对空间的研究论述，在数量与深度上都有着明显的不足。随着时代的不断进步与发展，现在越来越多的人开始关注、研究中国的传统绘画对于空间表现的处理。画面空间的建构，正是中国传统山水画画面布局表现上的诸多技法之一，也是我们对中国画的审美和视觉习惯上的基本需求。王蒙(1308-1385)，“元四家”之一，元末明初起承前启后作用的山水画大家，在中国山水画发展史上，其独特的艺术魅力对明清乃至当今的山水画发展有着重要影响。对王蒙的研究，历代的研究者都主要侧重于其生平、时代特征、笔墨技巧、风格特点的传承，以及画迹真伪等其他不同的研究视角上，今人亦有研究其虚幻空间的研究。笔者在学习、研究的过程中，在总结现有研究成果的基础上，把着重点放在了对王蒙作品的空间解读上。在空间营造上，王蒙是一个承前启后的大家，本文中以王蒙的代表作《青卞隐居图》为据，通过《青卞隐居图》与前后相关作品的类比，以跨时空的方式，，从时空演变、时代特征、笔墨空间、图式建构几方面来阐述自己对此的一点体会。
[Abstract]:In the process of creation and development of Chinese landscape painting, every dynasty has its independent or continuous theoretical system. The application of pen and ink and the construction of picture space are the two most basic aspects in the research and creation of Chinese landscape painting. Due to the preference and promotion of the painters, especially the literati painters, the discussion on the pen and ink in the painting theory of the past dynasties can be called grand and profound. The research on Chinese painting is also more devoted to the pen and ink, and the pen and ink have become synonymous with the Chinese painting because of the preference and promotion of the past painters, especially the literati painters. A great deal of discussion about pen and ink made us ignore the discussion and research of space intentionally or unintentionally, although Zhang Yanyuan had already discussed this simply in the six methods of painting as early as Tang Dynasty: "as for the position of management," Then the total point of painting "1, but relative to the pen and ink, the study of space, in terms of quantity and depth, there are obvious deficiencies." With the continuous progress and development of the times, more and more people begin to pay attention to the treatment of spatial expression in traditional Chinese painting. The construction of picture space is one of the many techniques in the layout of Chinese traditional landscape painting, and it is also the basic demand of the aesthetic and visual habits of Chinese painting. Wang Meng (1308, 1385), one of the four Yuan families, played an important role in landscape painting in the late Yuan and early Ming Dynasty. In the development history of Chinese landscape painting, its unique artistic charm has an important impact on the development of landscape painting in the Ming and Qing dynasties and even today. For Wang Meng's research, researchers of all dynasties have focused on his life, the characteristics of the times, pen and ink skills, the inheritance of style and characteristics, as well as the authenticity and falsehood of painting, and so on. Today, people have also studied his illusory space. In the process of studying and studying, on the basis of summarizing the existing research results, the author focuses on the spatial interpretation of Wang Meng's works. In space construction, Wang Meng is a link between the past and the future. Based on Wang Meng's representative work, "Green Bian seclusion Map," and through the analogy between "Qing Bian seclusion Map" and the related works before and after, in a way that spans time and space, it evolves from time and space. The characteristics of the times, ink space, schema construction to illustrate their own experience.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
[Abstract]:In the process of creation and development of Chinese landscape painting, every dynasty has its independent or continuous theoretical system. The application of pen and ink and the construction of picture space are the two most basic aspects in the research and creation of Chinese landscape painting. Due to the preference and promotion of the painters, especially the literati painters, the discussion on the pen and ink in the painting theory of the past dynasties can be called grand and profound. The research on Chinese painting is also more devoted to the pen and ink, and the pen and ink have become synonymous with the Chinese painting because of the preference and promotion of the past painters, especially the literati painters. A great deal of discussion about pen and ink made us ignore the discussion and research of space intentionally or unintentionally, although Zhang Yanyuan had already discussed this simply in the six methods of painting as early as Tang Dynasty: "as for the position of management," Then the total point of painting "1, but relative to the pen and ink, the study of space, in terms of quantity and depth, there are obvious deficiencies." With the continuous progress and development of the times, more and more people begin to pay attention to the treatment of spatial expression in traditional Chinese painting. The construction of picture space is one of the many techniques in the layout of Chinese traditional landscape painting, and it is also the basic demand of the aesthetic and visual habits of Chinese painting. Wang Meng (1308, 1385), one of the four Yuan families, played an important role in landscape painting in the late Yuan and early Ming Dynasty. In the development history of Chinese landscape painting, its unique artistic charm has an important impact on the development of landscape painting in the Ming and Qing dynasties and even today. For Wang Meng's research, researchers of all dynasties have focused on his life, the characteristics of the times, pen and ink skills, the inheritance of style and characteristics, as well as the authenticity and falsehood of painting, and so on. Today, people have also studied his illusory space. In the process of studying and studying, on the basis of summarizing the existing research results, the author focuses on the spatial interpretation of Wang Meng's works. In space construction, Wang Meng is a link between the past and the future. Based on Wang Meng's representative work, "Green Bian seclusion Map," and through the analogy between "Qing Bian seclusion Map" and the related works before and after, in a way that spans time and space, it evolves from time and space. The characteristics of the times, ink space, schema construction to illustrate their own experience.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
【相似文献】
相关期刊论文 前10条
1 李玉福;;从《青卞隐居图》看元代山水画风格的发生[J];艺术教育;2009年04期
2 章学增;;《青卞隐居图》中的阴阳之道[J];大舞台;2012年03期
3 郑晓敏;;《青卞隐居图》画面构成之管见[J];艺术教育;2009年05期
4 蔡登山;;也谈王蒙《青卞隐居图》——对陈定山的质疑[J];书城;2013年08期
5 文以诚 ,洪再辛;家庭财富:王蒙1366年《青卞隐居图》中的个人家境与文化类型[J];新美术;1990年04期
6 姬素红;;命运与心灵的
本文编号：2441090
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2441090.html
