中国文人画史上的“四大”坐标

发布时间：2018-03-25 10:52

本文选题：宗教　切入点：隐逸　出处：《南京艺术学院》2001年博士论文

【摘要】： 本文以艺术社会学为方法论，借鉴潘诺夫斯基和里格尔的“艺术意志”和豪泽尔的“精英艺术”、“通俗艺术”等观念来重新梳理文人画发展史，探讨在不同历史阶段儒、道、佛三教对文人画形成与发展所构成的潜在影响，并促使其从萌芽期走入文化内涵定型期、笔墨形式大发展期以至最后的集成期，在这四个时期中又分别孕育出四位文人画家来转变、带动文人画的前进，，使“气韵”、“意气”、“笔墨”等范畴趋于成熟定型。他们在历史上所起到的作用与角色恰如数学图表中“坐标”原理，一方面扩大其群众基础，加强文人意识，另一方面又劈风斩浪。一次次引导着文人画由小到大、由弱到强，步步走向成熟，成为画坛的主流。
[Abstract]:Based on the methodology of sociology of art, this paper draws lessons from Panofsky and Riegle's "artistic will" and Hauser's "essence". "English art", "popular art" and other concepts to rearrange the history of the development of literati painting, and discuss the Confucianism, Taoism and Buddhism in different stages of history. The potential influence of teaching on the formation and development of literati paintings, and the promotion of the formation and development of literati paintings from the budding stage to the period of cultural connotation shaping, and the pen and ink shape. In these four periods, four literati painters were bred respectively to change, which led to the transformation of literature. With the development of human painting, the categories of "spirit", "spirit" and "ink" tend to mature and set. Their works in history. Using the principle of "coordinate" just like the role in the mathematical diagram, on the one hand, it expands its mass base and strengthens the literati's consciousness, on the other hand, Once again lead the literati painting from small to large, from weak to strong, step by step towards maturity, become the mainstream of painting.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2001
【分类号】：J120.9

【引证文献】