本文選題：元代 + 山水畫��； 參考：《揚(yáng)州大學(xué)》2013年碩士論文

【摘要】：元代是中國隱逸文化盛行的時(shí)代,文人士大夫作為繪畫創(chuàng)作的主體,普遍存在著隱逸傾向,導(dǎo)致了元代成為文人畫發(fā)展的高峰時(shí)代。古代的文人大多自比為漁父,在抱負(fù)不得展,人生不得意的時(shí)候,將常常在遠(yuǎn)離塵囂的大自然中獨(dú)來獨(dú)往的漁父作為表達(dá)的對(duì)象,借以抒發(fā)自己懷才不遇、苦悶之際時(shí)所希冀的煙波之樂。漁父形象被賦予的閑適與孤傲的文化內(nèi)涵使之成為隱逸情感表達(dá)的載體,使得歷來的畫家,都將漁父作為隱逸文化中的經(jīng)典形象,在創(chuàng)作中反復(fù)的應(yīng)用。 據(jù)文字記載,漁父形象在山水畫中出現(xiàn)的最早時(shí)期是在魏晉南北朝,在此之后的各時(shí)期的繪畫作品中,大都能發(fā)現(xiàn)漁父的影子。到了元代,繪畫中漁父形象的出現(xiàn),在數(shù)量和影響上與前代有了重大的突破。本文主要以元代有漁父形象的山水畫為研究對(duì)象,結(jié)合時(shí)代背景與作者生平,通過畫面的分析與比對(duì),探究其興盛的原因,并借漁父這一審美形象在元代的發(fā)展情況,透視在中國傳統(tǒng)文化熏染下的文人隱逸心態(tài),總結(jié)出元代漁父情結(jié)山水畫中的文人隱逸心態(tài)的特點(diǎn)及其影響,以加深對(duì)中國山水畫的認(rèn)識(shí)與理解。 本文主要分四章來進(jìn)行論述：第一章對(duì)漁父情結(jié)山水畫的內(nèi)涵做出界定,介紹漁父情結(jié)山水畫的起源以及元代以前的創(chuàng)作概況;第二章按一定的時(shí)間順序,對(duì)漁父情結(jié)山水畫創(chuàng)作中具有代表性畫家的作品進(jìn)行分析,窺探元代漁父情結(jié)山水畫的發(fā)展?fàn)顩r；第三章分析了漁父情結(jié)山水畫在元代興盛的主要原因,總結(jié)了元代的社會(huì)、文化以及文學(xué)等方面對(duì)漁父情結(jié)山水畫的影響；第四章結(jié)合山水畫風(fēng)格與意識(shí)等方面,對(duì)元代漁父情結(jié)山水畫中文人隱逸心態(tài)的意義進(jìn)行分析。 隱逸文化以及產(chǎn)生出的一類人物,是中國歷史上一個(gè)獨(dú)有的文化現(xiàn)象。山水畫中的漁父形象,在人物形態(tài)、文化內(nèi)涵等方面作為文化藝術(shù)中一道獨(dú)特的人文景觀,以及所經(jīng)受的深厚歷史積淀,使它成為我們走進(jìn)文人隱逸心態(tài)最深層次的一道橋梁。
[Abstract]:The Yuan Dynasty was the prevailing era of Chinese reclusive culture. As the main body of painting creation, literati and officials generally had the tendency of seclusion, which led to the Yuan Dynasty becoming the peak period for the development of literati painting.Most of the ancient literati were fishing fathers, and when their ambitions were not developed and their life was not satisfactory, they often used the fishing father, who was alone in the nature far from the noise, as the object of expression, so as to express their talents and talents.The joy of the smoke waves desired in times of distress.The idleness and solitude of the image of the fishing father make it become the carrier of the expression of seclusion emotion, so that the painters of the past regard him as the classic image in the reclusive culture and repeatedly apply it in the creation.According to the written records, the earliest period of the image of Yufu in landscape painting was in the Wei, Jin, Southern and Northern dynasties.By the Yuan Dynasty, the appearance of the image of the fishing father in painting had a great breakthrough with the previous generation in terms of quantity and influence.This paper mainly takes the landscape painting with the image of Yufu in Yuan Dynasty as the research object, combining with the background of the times and the author's life, through the analysis and comparison of the pictures, probes into the reasons for its prosperity, and draws on the development of the aesthetic image of Yufu in the Yuan Dynasty.In order to deepen the understanding and understanding of Chinese landscape painting, the writer's reclusive mentality influenced by Chinese traditional culture is analyzed, and the characteristics and influence of literati's reclusive mentality in the Yuan Dynasty's Yu Fu complex landscape painting are summarized in order to deepen the understanding and understanding of Chinese landscape painting.This paper is divided into four chapters: the first chapter defines the connotation of Yufu complex landscape painting, introduces the origin of Yufu complex landscape painting and the general situation of creation before Yuan Dynasty; the second chapter according to a certain order of time,This paper analyzes the works of representative painters in the creation of Yufu complex landscape painting, and probes into the development of Yufu complex landscape painting in Yuan Dynasty. Chapter three analyzes the main reasons for the prosperity of Yufu complex landscape painting in Yuan Dynasty, and summarizes the society of Yuan Dynasty.The fourth chapter combines the style and consciousness of landscape painting to analyze the meaning of the recluse mentality of the Chinese people of the Yufu complex of landscape painting in Yuan Dynasty.The reclusive culture and its characters are a unique cultural phenomenon in Chinese history.The image of fishing father in landscape painting, as a unique cultural landscape in culture and art, makes us a bridge into the deepest level of recluse mentality of literati.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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