本文關(guān)鍵詞： 東山魁夷 繪畫美學(xué) 自然美 形式 物哀　出處：《西南大學(xué)》2011年博士論文　論文類型：學(xué)位論文

【摘要】：從美術(shù)學(xué)的角度研究東山魁夷的繪畫作品,幾乎成為一種定式。事實(shí)上,綜觀東山魁夷的繪畫與散文,于畫文中流露出的美學(xué)思想,幾乎被人們忽視。東山魁夷的繪畫美學(xué)思想主要表現(xiàn)在四個(gè)方面：自然美意識(shí)、形式美思想、“物哀”美意識(shí)與禪宗美學(xué)思想、水墨藝術(shù)精神。 在自然美意識(shí)方面,東山魁夷的繪畫美學(xué)思想強(qiáng)調(diào)親近自然,正確地把握自然,順從自然,回歸自然,自然與自我融為一體的自然觀照,這種觀念與中國(guó)的“天人合一”的自然觀必須體現(xiàn)“道”的觀念有所不同,是一種先天的、本原的親和。與西方所崇尚的人要駕馭自然、征服自然更有著根本的區(qū)別。 東山魁夷青年時(shí)期留學(xué)德國(guó),受到西方形式美學(xué)思想的影響,他的所有繪畫都非常注重形式。其形式美思想來(lái)源于西方的形式美思想,即把貝爾關(guān)于藝術(shù)的形式美理論運(yùn)用到了具體的繪畫創(chuàng)作中。在東山魁夷的作品中,線條、色彩以某種特殊方式組成某種形式或形式間的關(guān)系,激起我們審美感情。這種線、色的關(guān)系和組合,這些審美的感人的形式,就是“有意味的形式”。 東山魁夷的繪畫美學(xué)思想還體現(xiàn)出“物哀”美意識(shí)與禪宗美學(xué)思想。其繪畫作品中蘊(yùn)含空寂、幽玄的意境。與中國(guó)繪畫注重理性的了悟不同,日本繪畫給人親昵感覺(jué),長(zhǎng)于表現(xiàn)對(duì)自然的無(wú)常與哀感。如果說(shuō)以表現(xiàn)自然為題材的中國(guó)山水畫是一種體道性藝術(shù)的話,那么作為描繪自然的風(fēng)景畫在東山魁夷的筆下則是一種風(fēng)雅性藝術(shù)。這種風(fēng)雅性藝術(shù)的文化內(nèi)核就是“物哀”與禪意。 作為東山魁夷的藝術(shù)歸宿,水墨畫成了他晚年藝術(shù)的全部。從“真的山水”到“行的山水”,東山魁夷的水墨藝術(shù)既是一種“風(fēng)雅性”藝術(shù),也是一種“體道性”藝術(shù)。他的水墨藝術(shù)具有幽雅、高雅的風(fēng)格特征,也追求“天人合一”的中國(guó)藝術(shù)精神�？梢哉f(shuō),東山魁夷孜孜不倦地追求日本民族的美,從憧憬西方,再眺望日本,從先傾斜一方,再尋求平衡。他的藝術(shù)既是西方的,更是日本的,但最終的藝術(shù)指向卻是中國(guó)的,這就是東山魁夷的藝術(shù)生涯,也是其美學(xué)思想的變化歷程。
[Abstract]:The study of Higashiyama Kai's paintings from the perspective of art has almost become a formality. In fact, a comprehensive view of Higashiyama Kai's paintings and prose reveals aesthetic thoughts in painting and writing. Higashiyama Kai's aesthetic thought of painting is mainly manifested in four aspects: the consciousness of natural beauty, the thought of formal beauty, the aesthetic consciousness of "object mourning" and the aesthetic thought of Zen sect, and the spirit of ink and wash art. In the aspect of the consciousness of natural beauty, Higashiyama Kai's aesthetic thought of painting emphasizes the view of being close to nature, grasping nature correctly, obeying nature, returning to nature, and merging nature with self. This concept is different from that of "Tao" in China's "harmony between nature and man". It is a kind of innate and original affinity, and it is more fundamentally different from the western people who want to control nature and conquer nature. Under the influence of western formal aesthetics, Higashiyama Kai studied in Germany in his youth. All his paintings paid much attention to form. That is to say, Bell's theory of formal beauty of art is applied to the concrete painting creation. In Higashiyama Kai's works, lines and colors form a certain form or relationship in a special way, arousing our aesthetic feelings. The relationship and combination of color, these aesthetic touching forms, is the "meaningful form." Higashiyama Kai's aesthetic thought of painting also embodies the aesthetic consciousness of "object mourning" and the aesthetic thought of Zen sect. There is an empty and mysterious artistic conception in his painting works. Different from the Chinese painting's attention to rational understanding, Japanese painting gives people a feeling of intimacy. Good at expressing impermanence and sorrow to nature. If the Chinese landscape painting with the theme of expressing nature is a kind of style and Taoism art, As a natural landscape painting, Higashiyama Kai's painting is a kind of elegant art, the cultural core of this elegant art is "object mourning" and Zen. As the home of Higashiyama Kai's art, ink painting became the whole of his later art. From "real landscape" to "walking landscape", Higashiyama Kai's ink painting art is not only a kind of "elegant" art. It is also a kind of "body and morality" art. His ink and wash art has the characteristics of elegant and elegant style, and it also pursues the spirit of Chinese art of "the unity of nature and man". It can be said that Higashiyama Kai diligently pursued the beauty of the Japanese nation and looked forward to the West. Looking at Japan again, from the first to the side, then to seek balance. His art is not only Western, but also Japanese, but the final point of art is China, this is Higashiyama Kai's career in art, but also the course of the change of his aesthetic thought.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2011
【分類號(hào)】：J201

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 王卉;音畫同源，神于言外—解析汪立三鋼琴組曲《東山魁夷畫意》[D];湖南師范大學(xué);2013年

2 肖紅妮;風(fēng)景中的自我[D];福建師范大學(xué);2013年

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本文編號(hào)：1499798