山水画创作中“幻象化”的应用研究

发布时间：2019-04-24 07:21

【摘要】：从古至今，山水画一直是人们表现情感的载体，在山水画中，我们可以体会到画家的格调、意境以及气韵。从魏晋诞生至今的山水画给予了中国人太多的情感，可以说山水画是中国传统文化的重要组成，体现了中国人的性情和民族的底蕴。中国山水画表现出中国传统的道家文化，，老子所代表的道家文化主要探讨“道”、“气”、“象”之间的关系，而“象”是一种超越现实基础而存在于人内心之中的虚幻之象，也是一种意念之象，是人们通过推理建构起来的精神象征和生命感悟。历代的山水画家在作品中偶有“幻象化”的创作理念，并重在“象”的变形，这就是艺术的“幻象化”表现方式。因此，本文主要通过分析中国古代和现代名家山水画创作中“幻象化”手法的应用及所达到的艺术审美效果，从中寻求“幻象化”手法使用的规律性，以求准确的剖析中国山水画创作中“幻象化”方法的运用规律，并从中提取创新元素。首先，本论文就相关概念进行理论阐释，包括“现实”表现、“幻象化”表现、“抽象化”不同的概念，同时解释了“幻象化”出现的机制，以及“现实”表现、“幻象化”表现、“抽象化”三者的关系。其次，本论文分析了“幻象化”在国画山水中的美学作用。第三，本论文分析古人和今人山水画创作中“幻象化”的具体表现与应用，并就“幻象化”和社会意识形态之间的关系进行论述。最后，本论文对当代山水画创作中“幻象化”应用的价值与启示进行分析。总之，“幻象化”的创作可以说是中国山水画创作的创新元素之一，但是目前入门的艺术创作者并不能很好的掌握和应用这种创作手法，我们只有通过反复的研究、论证和实践，对山水画创作中的“幻象化”应用，总结一套切实的理论与方法，此项创新元素的研究不仅丰富了中国美学理论，还能为山水画创作者提供创作的灵感，使其山水画创作从观摩转向内心升华，使中国山水画创作更加充满情趣。
[Abstract]:Since ancient times, landscape painting has been the carrier of people's feelings. In landscape painting, we can experience the artist's style, artistic conception and charm. Since the birth of the Wei and Jin dynasties, the landscape painting has given the Chinese too much emotion. It can be said that the landscape painting is an important part of the traditional Chinese culture, reflecting the Chinese people's temperament and national heritage. Chinese landscape painting shows the traditional Taoist culture of China, and the Taoist culture represented by Lao Tzu mainly discusses the relationship among "Tao", "Qi" and "elephant", and "elephant" is a kind of illusory image that surpasses the realistic foundation and exists in the human heart. It is also a kind of mental image, which is the spiritual symbol and life feeling constructed by reasoning. Landscape painters of all ages have occasionally created the idea of "illusionization" in their works, and put emphasis on the deformation of "image", which is the way of expression of "illusion" of art. Therefore, this paper mainly analyzes the application of "illusionization" technique and the artistic aesthetic effect achieved in the creation of Chinese ancient and modern famous landscape painting, in order to seek the regularity of the use of "illusionization" technique. In order to analyze the law of "illusionization" in Chinese landscape painting accurately, and to extract innovative elements from it. First of all, this paper explains the related concepts in theory, including "reality", "illusion", "abstraction", and explains the mechanism of "illusion", as well as the performance of "reality". The relationship between "illusion" and "abstraction". Secondly, this paper analyzes the aesthetic role of "illusionization" in the landscape of traditional Chinese painting. Thirdly, this paper analyzes the concrete expression and application of "illusionization" in the creation of ancient and modern landscape paintings, and discusses the relationship between "illusionization" and social ideology. Finally, this paper analyzes the value and enlightenment of "illusionization" application in contemporary landscape painting creation. In a word, the creation of "illusions" can be said to be one of the creative elements of Chinese landscape painting creation, but at present, the art creators in the beginning can not master and apply this creative technique very well, we can only study it repeatedly. Argumentation and practice, summarize a set of practical theories and methods on the application of "illusion" in landscape painting creation. The research on this innovative element not only enriches the Chinese aesthetic theory, but also provides the creative inspiration for the creators of landscape painting. Make its landscape painting creation from observation to inner sublimation, make Chinese landscape painting creation more full of interest.
【学位授予单位】：哈尔滨师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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