“黄山画”派研究
发布时间：2019-06-01 23:02
【摘要】：本文以图像分析为基础，综合运用了历史学、社会学、文学、比较学等多学科交叉的理论和方法，从三个章节展开对黄山诗画的论述。 第一章陈述黄山入画的三大时期。主要从明末清初、民国、新中国三个时期来论述：明中叶以后，普门和尚筑路开山，开发黄山。以徐霞客为首的文人士大夫对黄山的推广，使黄山成为旅游的名山。明末清初，由于江山易主，明遗民画家遁迹山林，情寄书画。以黄山的自然风光寻求心灵的寄托，将悲愤之情和亡国之恨在真切的黄山云海中得到宣泄和排解，，对尘世的逃避和愤恨在山川丘壑里得到升华。而徽商对黄山题材的山水画的大量购藏，是艺术家以黄山为题材的作品在明末清初时期出现了最多的山水题材；民国时期明清个性化画家的被发现，是因为他们的独立精神和创造意识恰好迎合20世纪的社会变革和个性解放思潮。石涛和明末遗民画家的黄山画引发当时画家对写生的兴趣，大批画家赴黄山写生，把写生作为打破清末山水画高度程式化的图像样式的一个重要手段，寻找自我艺术新的立足点；新中国时期的文艺方针改变了传统山水画的价值概念、精神内涵、题材内容和表现方式。画家们响应政府对艺术的干预，加入到“写生运动”中去，直接用笔墨宣纸到生活中去面对真山真水进行写生。黄山再次成为探索新的审美空间和确立个性艺术图式的自然母题。 第二章阐述黄山诗画审美特征及风格的转变在不同时代背景下的文化内涵和社会意义。对明清至20世纪的黄山诗画代表艺术家做个案研究，将黄山画作为主体研究，同时运用“以图证史”和“以诗释图”的方式来对画和诗分析和比较而明确黄山诗画的变迁：诗的黄山（唐宋时期）、诗画的黄山（明末清初时期）、画的黄山（民国到新中国时期）。 第三章论述黄山画的艺术特色，主要表现为多样化和具体化。这两大特色既由黄山自然地理独特的山川地貌特征所致；更因为明清文化价值观的改变所导致艺术审美观的变化，出现了与古典和谐美相异的一些新艺术个性追求。受“个性解放、创新意识”的文化思潮影响，民国、新中国的黄山画无论写实或者不写实的绘画图像均为多样化和具体化为表现特征。 关于黄山诗和黄山画的研究，，虽已有学者论及，但少有从“黄山诗画的审美变迁”这个角度来把握唐宋至20世纪的发展脉络、缘由及影响。本文正是在于探讨不同时代文化价值观发生变化下的黄山画和黄山诗的审美观的变化和黄山作为母题绘画的近代变革与突破。
[Abstract]:Based on image analysis, this paper comprehensively applies the theories and methods of history, sociology, literature, comparative studies and so on, and discusses Huangshan poetry and painting from three chapters. The first chapter describes the three periods of Huangshan painting. Mainly from the late Ming Dynasty, the early Qing Dynasty, the Republic of China, the people's Republic of China to discuss: after the middle of Ming Dynasty, Phumen monks built roads and opened mountains to develop Huangshan Mountain. Xu Xiake led the promotion of Huangshan, making Huangshan a famous tourist mountain. At the end of Ming Dynasty and the beginning of Qing Dynasty, because of the change of rivers and mountains, Ming survivors painters reclashed from the mountains and trees and sent calligraphy and painting. In order to seek the sustenance of the soul with the natural scenery of Huangshan, the feelings of grief and indignation and the hatred of subjugation of the country will be catharsed and relieved in the true sea of clouds in Huangshan, and the escape and resentment of the earthly world will be sublimated in the mountains and valleys. Huizhou merchants bought a large number of landscape paintings with Huangshan theme, which was the most popular landscape theme in the late Ming and early Qing dynasties. During the period of the Republic of China, individualized painters in Ming and Qing dynasties were discovered because their independent spirit and creative consciousness just catered to the social change and personality liberation trend of thought in the 20th century. The Huangshan painting of Shi Tao and the survivors of the late Ming Dynasty aroused the interest of painters in sketching at that time. A large number of painters went to Huangshan to sketch as an important means of breaking the highly stylized image style of landscape painting in the late Qing Dynasty. Looking for a new foothold of self-art; The literary and artistic policy in the New China period changed the value concept, spiritual connotation, subject matter content and expression mode of traditional landscape painting. In response to the government's intervention in art, painters joined the sketching movement and directly used pen and ink rice paper to face the real mountain and real water in life. Huangshan has once again become the natural motif of exploring new aesthetic space and establishing individual artistic schema. The second chapter expounds the cultural connotation and social significance of the aesthetic characteristics and style transformation of Huangshan poetry and painting in different times. This paper makes a case study on the representative artists of Huangshan poetry and painting from Ming and Qing dynasties to the 20th century, and takes Huangshan painting as the main body of the study. At the same time, the changes of Huangshan poetry and painting are clarified by the analysis and comparison of painting and poetry by means of "proving history with pictures" and "interpreting pictures by poetry": Huangshan (Tang and Song dynasties), Huangshan (late Ming and early Qing dynasties), The painting of Huangshan (from the Republic of China to the New China period). The third chapter discusses the artistic characteristics of Huangshan painting, mainly manifested in diversification and concrete. These two characteristics are not only caused by the unique geomorphological characteristics of Huangshan natural geography, but also due to the change of artistic aesthetics caused by the change of cultural values in Ming and Qing dynasties, resulting in some new artistic personality pursuit which is different from classical harmonious beauty. Influenced by the cultural trend of thought of "personality liberation and innovative consciousness", Huangshan paintings in the Republic of China and New China are diversified and concrete in both realistic and non-realistic painting images. Although the study of Huangshan poetry and Huangshan painting has been discussed by scholars, it is rare to grasp the development context, reason and influence from Tang and Song dynasties to the 20th century from the angle of "aesthetic change of Huangshan poetry and painting". This paper is to explore the aesthetic changes of Huangshan painting and Huangshan poetry under the change of cultural values in different times and the modern reform and breakthrough of Huangshan painting as the motif painting.
【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209.9
本文编号：2490648
[Abstract]:Based on image analysis, this paper comprehensively applies the theories and methods of history, sociology, literature, comparative studies and so on, and discusses Huangshan poetry and painting from three chapters. The first chapter describes the three periods of Huangshan painting. Mainly from the late Ming Dynasty, the early Qing Dynasty, the Republic of China, the people's Republic of China to discuss: after the middle of Ming Dynasty, Phumen monks built roads and opened mountains to develop Huangshan Mountain. Xu Xiake led the promotion of Huangshan, making Huangshan a famous tourist mountain. At the end of Ming Dynasty and the beginning of Qing Dynasty, because of the change of rivers and mountains, Ming survivors painters reclashed from the mountains and trees and sent calligraphy and painting. In order to seek the sustenance of the soul with the natural scenery of Huangshan, the feelings of grief and indignation and the hatred of subjugation of the country will be catharsed and relieved in the true sea of clouds in Huangshan, and the escape and resentment of the earthly world will be sublimated in the mountains and valleys. Huizhou merchants bought a large number of landscape paintings with Huangshan theme, which was the most popular landscape theme in the late Ming and early Qing dynasties. During the period of the Republic of China, individualized painters in Ming and Qing dynasties were discovered because their independent spirit and creative consciousness just catered to the social change and personality liberation trend of thought in the 20th century. The Huangshan painting of Shi Tao and the survivors of the late Ming Dynasty aroused the interest of painters in sketching at that time. A large number of painters went to Huangshan to sketch as an important means of breaking the highly stylized image style of landscape painting in the late Qing Dynasty. Looking for a new foothold of self-art; The literary and artistic policy in the New China period changed the value concept, spiritual connotation, subject matter content and expression mode of traditional landscape painting. In response to the government's intervention in art, painters joined the sketching movement and directly used pen and ink rice paper to face the real mountain and real water in life. Huangshan has once again become the natural motif of exploring new aesthetic space and establishing individual artistic schema. The second chapter expounds the cultural connotation and social significance of the aesthetic characteristics and style transformation of Huangshan poetry and painting in different times. This paper makes a case study on the representative artists of Huangshan poetry and painting from Ming and Qing dynasties to the 20th century, and takes Huangshan painting as the main body of the study. At the same time, the changes of Huangshan poetry and painting are clarified by the analysis and comparison of painting and poetry by means of "proving history with pictures" and "interpreting pictures by poetry": Huangshan (Tang and Song dynasties), Huangshan (late Ming and early Qing dynasties), The painting of Huangshan (from the Republic of China to the New China period). The third chapter discusses the artistic characteristics of Huangshan painting, mainly manifested in diversification and concrete. These two characteristics are not only caused by the unique geomorphological characteristics of Huangshan natural geography, but also due to the change of artistic aesthetics caused by the change of cultural values in Ming and Qing dynasties, resulting in some new artistic personality pursuit which is different from classical harmonious beauty. Influenced by the cultural trend of thought of "personality liberation and innovative consciousness", Huangshan paintings in the Republic of China and New China are diversified and concrete in both realistic and non-realistic painting images. Although the study of Huangshan poetry and Huangshan painting has been discussed by scholars, it is rare to grasp the development context, reason and influence from Tang and Song dynasties to the 20th century from the angle of "aesthetic change of Huangshan poetry and painting". This paper is to explore the aesthetic changes of Huangshan painting and Huangshan poetry under the change of cultural values in different times and the modern reform and breakthrough of Huangshan painting as the motif painting.
【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209.9
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本文编号：2490648
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