古代中国绘画中的影与形

发布时间：2019-04-12 19:55

【摘要】：古代中国绘画中极少出现影子，主要的理论著作中也鲜有提及，然而这并不代表中国画与影子无关。通过研究发现，古代中国画不仅关注影，而且存在一些与影子相关的技法与观念，对绘画的创作、审美以及历史发展都有一定的影响。首先，在中国文化的早期阶段便有了对影子的正确认识和独特观念。“影景同字”、"恶影畏迹”等都是古代思想中的珍贵财富。然而文化的特性决定了中国思想对影的探讨没有走向“光影”，而是集中在"形影”方面。到了魏晋时期，，由于哲学中对“形神’’关系的深入探讨，以及佛教文化的影响，“影”进入了“形神”关系之中，产生了深刻的哲学内涵。这些都为绘画中利用影，创造了思想基础。其次，由于影子与中国画对“形”的要求暗合，利用影子提炼绘画造型的方法就产生了。在人物画领域，苏轼借助影子来讨论传神，并介绍了“灯下取影”的造型方法，对人物画的创作有积极意义。花鸟画中，墨竹墨梅都有源始于“月下摹窗影”的传说，虽然这种起源说并不符合历史事实，但传说本身体现了影子与水墨绘画的重要联系。事实上“以影取形”的造型手段，在古代绘画中被广泛使用、认可，不仅助益了绘画创作，而且给中国画的转型带来了灵感。再次，在明清写意风潮兴起之际，“舍形悦影”的观念被提出，并成为写意绘画的重要的理论。在写意思想里，“影”成为绘画脱略形似之后的依托，为绘画的自由表达提供了理论支持。"舍形悦影”由徐渭提出，并得到八大山人、石涛、郑燮等重要写意画家的认同和宣扬，推动了绘画的演变。“影”对中国画的意义，超出了技巧，进入创作、审美领域。
[Abstract]:There are very few shadows in ancient Chinese painting, which are rarely mentioned in the main theoretical works. However, this does not mean that Chinese painting has nothing to do with shadow. Through the research, it is found that ancient Chinese painting not only pays attention to shadow, but also has some shadow-related techniques and concepts, which have certain influence on painting creation, aesthetics and historical development. First of all, in the early stage of Chinese culture, there is a correct understanding and unique concept of shadow. "Shadow with the same character", "evil shadow fear" and so on are the precious wealth of ancient thought. However, the cultural characteristics determine that the discussion of Chinese ideological opposites is not toward "light and shadow", but concentrated on "shape and shadow". In the Wei and Jin dynasties, due to the deep exploration of the relationship between the form and the spirit in philosophy and the influence of the Buddhist culture, the shadow entered the relationship between the form and the spirit, and produced a profound philosophical connotation. These have created the ideological basis for the use of shadows in painting. Secondly, because the shadow and Chinese painting to the "shape" requirements are implicit, the use of shadow to refine painting modeling method is produced. In the field of figure painting, Su Shi discusses the evangelization with shadow, and introduces the modeling method of "taking pictures under lamp", which has positive significance to the creation of figure painting. In flower-and-bird paintings, Mo-Zhu-Mo-Mei has its roots in the legends of "copying window shadows under the moon". Although this origin theory does not accord with the historical facts, the legend itself embodies the important connection between shadow and ink painting. In fact, "taking shape by shadow" is widely used and recognized in ancient painting, which not only helps the creation of painting, but also brings inspiration to the transformation of Chinese painting. Thirdly, at the time of the rise of the freehand trend in the Ming and Qing dynasties, the concept of "the shape of the beautiful shadow" was put forward and became an important theory of the freehand painting. In the idea of freehand, "Shadow" becomes the support of painting after it is removed from shape, which provides theoretical support for the free expression of painting. " It was put forward by Xu Wei and recognized and publicized by eight great mountain people, Shi Tao, Zheng Xie and other important freehand painters, which promoted the evolution of painting. Shadow to the meaning of Chinese painting, beyond the skills, into the field of creation, aesthetic.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

【参考文献】