【摘要】：本文以林紓晚年畫(huà)論著作《春覺(jué)齋論畫(huà)》為研究對(duì)象,通過(guò)對(duì)林紓系列言論的解讀與詮釋,以及對(duì)林紓改良主義與“理學(xué)至上”的政治文化思想的追溯與探討,將林紓在《春覺(jué)齋論畫(huà)》中的主要繪畫(huà)思想總結(jié)為“出宋入元”這一繪畫(huà)旨?xì)w。并以林紓根深蒂固的程朱理學(xué)作為論文的思想基點(diǎn),以理學(xué)思維方式對(duì)繪畫(huà)觀(guān)念和繪畫(huà)形態(tài)的影響為紐帶,將“自然之理”、“寫(xiě)意藝術(shù)觀(guān)”、“社會(huì)化自然”做為切入點(diǎn),剖析林紓“出宋入元”的藝術(shù)主張。林紓以此藝術(shù)主張為論畫(huà)契機(jī),在西風(fēng)烈烈、唯新是從的美術(shù)革命浪潮中,為傳統(tǒng)繪畫(huà)在中國(guó)文化體系內(nèi)部的“溫故知新”提供了理論基礎(chǔ)。
[Abstract]:This paper takes Lin Shu's painting theory in his later years as the object of study, through the interpretation and interpretation of Lin Shu's series of comments, as well as the tracing and discussion of Lin Shu's reformism and the political and cultural thought of "the supremacy of Neo-Confucianism". The main painting thought of Lin Shu in Chun Jue Zhai is summarized as the aim of "out of Song Dynasty and Yuan Dynasty". Taking Lin Shu's deep-rooted Neo-Confucianism of Cheng and Zhu as the ideological basis of the thesis, taking the influence of the mode of Neo-Confucianism on painting concept and painting form as the link, taking "natural principle", "freehand brushwork art view" and "socialized nature" as the breakthrough point. Analysis of Lin Shu's artistic proposition of "out of Song Dynasty and Yuan Dynasty". Lin Shu took this artistic proposition as an opportunity to discuss painting. In the wave of art revolution in which the west wind is strong and the only new is following, it provides a theoretical basis for the traditional painting in the internal system of Chinese culture.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J205

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本文編號(hào)：2134610