中国山水画中的“势”与“质”研究

发布时间：2019-07-01 10:27

【摘要】：中国山水画作为富有中国特色的绘画艺术，在中国绘画发展历史上占有极为重要的地位。伴随着山水画发展而总结出许多的美学理论和作画原则，其中“远取其势，进取其质”的美学观念着重强调了对画面整体观与细节观的要求。本文以势与质作为切入点，将两者作为联系紧密的对象进行了较为详尽的阐释，也作为一个整体讲述了两者不可分的重要性。本文第一章通过对势与质概念、特性和哲学思想的概述，表现出势与质是在山水画创作中必须具备的两个重要因素。通过对这二者的综合运用，既可以表现出大自然最原始、最客观的状态，也可以是将山川江河定位为主角的主观表现；既可以是各种笔墨、各种技法与绘画准则的混合呈现，也可以凝聚着画家的思想、情绪、情感、文化与修养。两者是作品中所有元素的交织、相融，你中有我、我中有你。势与质在中国山水画中展示了其丰富的绘画语言，同时也表现出了不同的特性，这是势与质的概念在画面中的延伸和总结。山水画从萌芽、发展直至占据画坛主流地位的深层原因主要是有着古代哲学思想的依托，儒道精神文化在一定程度上与山水画的气质不谋而合，势与质的表现因此也承载了一份哲学理念的传达。论文第二、三章主要围绕势与质在山水画创作中的具体表现展开详细论述，即笔墨语言、绘画技法的不同应用。势与质是山水画最基础、最表面、最具表现力的笔墨语言，也是山水画最具价值、最有影响力、最精髓的内在表达。中国山水画在与时俱进，，势与质的时代性也日益显著。论文最后一章总结了势与质的美学要求，提出了势与质的发展方向。本文依据大量的文献资料从势与质的多个角度深入剖析，让大家能全面的、深刻的认识势与质，品味中国山水画的精髓，从而在创作或欣赏中国山水作品时能够发掘它更有价值的一面，也能使中国山水画在不抛弃原有的精神基础上继续辉煌。
[Abstract]:As a painting art with Chinese characteristics, Chinese landscape painting is of great importance in the history of Chinese painting and development. With the development of landscape painting, many aesthetic theories and painting principles are summarized, in which the aesthetic concept of the "to take advantage of its potential and to advance its quality" emphasizes the requirement of view of the whole picture and the view of detail. In this paper, as the point of entry of potential and quality, the two as the objects of the contact are explained in detail, and the importance of the two unsub-points is also narrated as a whole. The first chapter, through an overview of the concept, characteristics and philosophy of potential and quality, shows that the potential and quality are two important factors that must be possessed in the creation of landscape painting Through the comprehensive application of the two, it can not only show the most primitive and objective state of nature, but also the subjective performance of positioning the mountains and rivers as the main characters; it can be the mixed presentation of various kinds of pen and ink, various techniques and painting standards, and can also be condensed with the painter's thinking. thinking, emotion, culture and repair The two are the interweave of all the elements in the work, and they are in harmony, and you have me, and I have You. The potential and quality show its rich painting language in Chinese landscape painting, and also show different characteristics, which is the extension and total of the concept of potential and quality in the picture The deep reason for the development of the landscape painting from the bud and the development to the main position of the painting is mainly based on the ancient philosophy thought, and the Confucian and Taoist spiritual culture is in a certain degree with the temperament of the landscape painting, and the appearance of the potential and the quality of the landscape painting also carries a message of the philosophy idea. The second chapter and the third chapter of the paper mainly discuss the concrete performance of the influence and quality in the creation of landscape painting, that is, the different forms of the pen-ink language and the painting skill. It is the most basic, surface and most expressive pen-ink language of the landscape painting. It is also the most valuable, most influential and essential internal form of the landscape painting. The times of the Chinese landscape painting in the times, the potential and the quality are also becoming more and more obvious In the last chapter of the paper, the aesthetic requirements of potential and quality are summarized, and the development of potential and quality is put forward. In this paper, according to a lot of literature and literature, this paper makes a thorough analysis of the potential and quality of Chinese landscape painting, and makes it more valuable to find out the essence of Chinese landscape painting in the creation or appreciation of the Chinese landscape works. On the other hand, the Chinese landscape painting can be made on the basis of not discarding the original spirit
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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