本文關(guān)鍵詞： 中國傳統(tǒng)山水畫 虛境營造 實境 寫意性 無盡意空間　出處：《西南大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：中國傳統(tǒng)山水畫中虛境營造這一創(chuàng)作過程,反應(yīng)著傳統(tǒng)文人對中國哲學(xué)思想最高境界的理解和實踐。他們用自然山水中的“無限”空間比附“道”中的“虛無”、“淡泊”、“玄遠(yuǎn)”,最終歸于“天地精神”和“人生境界”,在后來的發(fā)展中也產(chǎn)生了對禪的精神比附,并通過山水畫的方式將其表現(xiàn)出來,使山水畫成為一個具有“天地精神”的小宇宙。此小宇宙包含著畫家“無限”的、永恒的人生境界,此“無限”和永恒來源于山水畫中“虛遠(yuǎn)”空間的無盡意暗示,使畫中產(chǎn)生出最為期待、最為豐富的包含著道學(xué)精神的無盡意蘊(yùn)。那么山水畫虛境的營造與畫中的空間傳達(dá)有密切的關(guān)系,其首先要求能表達(dá)出無盡空間；其次須使這種無盡空間傳達(dá)出無盡聯(lián)想的畫外空間,繼而使虛遠(yuǎn)空間成為無盡意的“虛境”。 本文以傳統(tǒng)山水畫為研究對象,主要內(nèi)容集中在第二章,根據(jù)山水畫變化發(fā)展的幾個階段進(jìn)行分層研究。即以山水畫萌芽的東晉顧愷之時期到山水畫形制基本完成的隋代展子虔時期為一階段,主要分析了早期丹青山水作為配景畫的“類虛境”表達(dá),以及由宗丙開始的關(guān)于獨(dú)立山水畫“遠(yuǎn)空間”意韻的表達(dá)。第二階段五代兩宋實境山水畫的虛境營造,主要分析了實境山水畫中的相關(guān)技法和虛境營造技法,第三階段為元明清以虛境營造為主導(dǎo)的技法變衍,主要分析了從元代興起的寫意山水虛境營造的相關(guān)技法及明清的繼承與發(fā)展�；诘诙碌难芯�,第三章以歸納總結(jié)的方法梳理出了山水畫虛境營造技法的基本框架。第四章則將虛境營造延伸至當(dāng)代山水畫,以及筆者在山水畫創(chuàng)作中的體會。 本文落實于傳統(tǒng)山水畫中虛境營造的技法上進(jìn)行研究,試圖從歷代山水畫理論以及與之時代相對應(yīng)的山水畫中得到啟發(fā),從而對虛境營造進(jìn)行方方面面的技法剖析,進(jìn)而對傳統(tǒng)山水畫的虛境營造方法進(jìn)行一框架性的梳理,使虛境營造技法形成一系統(tǒng)化方法,此為本論文的研究目的之一。研究傳統(tǒng)山水畫中的虛境營造技法,試圖改變一般對山水畫中“虛境”就是“虛空”,就是留白等這一類較為片面的、表面化的基本認(rèn)識。希望對山水畫虛境的較為深度和廣度的理解起到穿針引線的作用,此為本論文的研究目的之二。目的之三,對這一命題的研究,能指導(dǎo)筆者在山水畫創(chuàng)作中的虛境營造方法,也成為山水畫創(chuàng)作的理論根據(jù)之一。最后,使山水畫創(chuàng)作能緊緊依附著山水畫本質(zhì)精神這一文化指向,體現(xiàn)著山水畫的本土文化價值。
[Abstract]:Chinese traditional landscape painting in the virtual environment to create this creative process. It reflects the traditional literati's understanding and practice of the highest realm of Chinese philosophical thought. They use the "infinite" space in the natural landscape to compare the "nothingness", "indifference" and "metaphysics" in "Tao". Ultimately attributed to the "spirit of heaven and earth" and "realm of life", in the subsequent development of the spirit of Zen also produced a match, and through the way of landscape painting to show it. So that landscape painting has become a "heaven and earth spirit" of the small universe. This small universe contains the painter "infinite", the eternal realm of life. This "infinite" and eternal from the landscape painting "empty far" space of endless implication, so that the painting produced the most expected. The most abundant contains the endless meaning of the Taoist spirit. Then the construction of the virtual landscape painting and the space in the painting are closely related, its first requirement is to express the endless space; Secondly, this kind of endless space must convey the endless association of the outside space, and then make the empty space into the endless meaning of the "virtual environment." This article takes the traditional landscape painting as the research object, the main content concentrates in the second chapter. According to the landscape painting changes and development of several stages of stratification research, that is, landscape painting germination of the Eastern Jin Gu Kaizhi period to landscape painting form system completed in the Sui Dynasty exhibition period as a stage. Mainly analyzed the early Danqing landscape as a matching landscape painting "virtual territory" expression, as well as from Zong started on the independent landscape painting "far space" meaning rhyme expression. The second stage of the five dynasties and two Song Dynasty real landscape landscape painting virtual environment construction. Mainly analyzes the real landscape painting in the related techniques and virtual environment construction techniques, the third stage of the Yuan, Ming and Qing dynasties with the virtual environment as the dominant techniques change. It mainly analyzes the related techniques and inheritance and development of freehand brushwork from Yuan Dynasty based on the second chapter. The third chapter combs out the basic frame of the techniques of landscape painting virtual environment construction with the method of summing up. Chapter 4th extends the virtual environment construction to contemporary landscape painting and the author's experience in landscape painting creation. This article carries on the research in the traditional landscape painting in the virtual environment construction technique, attempts to obtain the inspiration from the successive dynasties landscape painting theory and the corresponding landscape painting corresponding to the times. In order to construct virtual environment in all aspects of the analysis of the techniques, and then the traditional landscape painting virtual environment construction method of a frame combing, so that virtual environment construction techniques to form a systematic method. This is one of the purposes of this paper. The study of traditional landscape painting in the virtual environment construction techniques, trying to change the general landscape painting "virtual territory" is "empty", is such a more one-sided landscape painting. The basic understanding of the surface. I hope to understand the depth and breadth of the landscape painting virtual territory play a role in the role of thread, this is the second purpose of this paper. Third, the study of this proposition. Can guide the author in the creation of landscape painting virtual environment building method, but also become one of the theoretical basis of landscape painting creation. Finally, the landscape painting creation can be closely attached to the spirit of landscape painting this cultural point. It embodies the local cultural value of landscape painting.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

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