【摘要】：“線”在中國(guó)山水畫(huà)中的重要地位是毋庸置疑的。它作為最基本的繪畫(huà)造型語(yǔ)言在中國(guó)山水畫(huà)中運(yùn)用,不僅可以達(dá)到狀物的目的,而且也以藝術(shù)化的手段揭示出物象的性狀情態(tài),體現(xiàn)了山水畫(huà)家對(duì)客觀形象的概括、提煉和理解能力；也體現(xiàn)了畫(huà)家們表現(xiàn)物象的能力。中國(guó)畫(huà)“以線造型”的繪畫(huà)樣式,由線條構(gòu)成最簡(jiǎn)單的藝術(shù)樣式,這與老子的“道生一、一生二、二生三、三生萬(wàn)物”的哲學(xué)思想是相契合,潘天壽有這樣的闡述：“畫(huà)事用筆,不外點(diǎn)、線、面三者”,石濤也在他畫(huà)論中寫(xiě)道：“一畫(huà)者,眾有之本,萬(wàn)象之根,見(jiàn)用于人,藏用于人……”,“借筆墨以寫(xiě)天地萬(wàn)物而淘泳乎我也,”進(jìn)一步證明了線所具有的抒情寫(xiě)意性,由于畫(huà)家在運(yùn)筆中出現(xiàn)的各種變化,使線條自身具有了千變?nèi)f化的形式。一方面,線條豐富多姿的形態(tài)可以喚起欣賞者對(duì)現(xiàn)實(shí)生活的萬(wàn)般物象中類(lèi)似物體形態(tài)美的聯(lián)想,使抽象的線條成為現(xiàn)實(shí)事物形體美的一種間接曲折的反映。另一方面,畫(huà)家在運(yùn)筆過(guò)程中的個(gè)人情緒、意趣、思想的灌注,使得中國(guó)畫(huà)中的線條具有明顯的畫(huà)家個(gè)性特征,達(dá)到抒情、暢神、寫(xiě)意的作用,進(jìn)而表現(xiàn)畫(huà)家的審美理想、氣質(zhì)、心靈、品格,這就是常人所說(shuō)的“畫(huà)如其人”。 在現(xiàn)當(dāng)代中國(guó)山水畫(huà)中,要在繼承傳統(tǒng)的基礎(chǔ)上創(chuàng)新“線”語(yǔ)言。但由于中國(guó)山水畫(huà)及其“線”語(yǔ)言的發(fā)展正歷經(jīng)數(shù)千年的歷史,有著深厚的歷史根源和文化積淀,要跳出傳統(tǒng)禁錮并在此基礎(chǔ)上創(chuàng)造新的“線”語(yǔ)言,有著相當(dāng)大的難度。但現(xiàn)當(dāng)代畫(huà)家如黃賓虹、潘天壽、張仃、陸儼少等卻在既囿于傳統(tǒng)又不離于傳統(tǒng)的前提下創(chuàng)新了“線”語(yǔ)言,并成一家,成為后世學(xué)習(xí)的典范。這也為現(xiàn)當(dāng)代山水畫(huà)家在新的時(shí)代背景下創(chuàng)新“線”語(yǔ)言提供了可能和新的發(fā)展方向。繼承傳統(tǒng)又不僅是繼承傳統(tǒng)的技法,更是繼承傳統(tǒng)的文化和精神思想；創(chuàng)新“線”語(yǔ)言應(yīng)棄傳統(tǒng)中的糟粕,取傳統(tǒng)之精華,同時(shí)也要做到擴(kuò)大視野,有選擇地吸收新時(shí)期中益于山水畫(huà)“線”語(yǔ)言創(chuàng)新的因子,在新時(shí)代背景下,賦予中國(guó)山水畫(huà)“線”語(yǔ)言新的生命力,進(jìn)一步鞏固“線”語(yǔ)言在中國(guó)山水畫(huà)中的核心地位。
[Abstract]:The important position of line in Chinese landscape painting is beyond doubt. As the most basic language of painting and modeling, it can not only achieve the purpose of object, but also reveal the characteristic modality of object by artistic means, which reflects the generalization of objective image by landscape painter. Ability to refine and understand; It also reflects the ability of painters to represent objects. The painting style of Chinese painting "modeling by line" consists of lines to form the simplest art style, which coincides with Laozi's philosophy of "Taosheng one, two, three, three and three". Pan Tianshou has such an exposition: "painting with a pen, no more than a point, a line, a surface," Shi Tao also wrote in his painting theory: "A painter, the root of all things, see for man, hide for man." "by writing everything in the world, I am also swimming," further proving the lyrical brushwork of the line. As a result of the various changes in the painters' pen, the line itself has a variety of forms. On the one hand, the rich and colorful form of lines can evoke an association of the beauty of objects in all kinds of objects in real life, making abstract lines an indirect reflection of the beauty of reality. On the other hand, the individual emotion, interest and thought of the painter in the process of carrying pen make the lines in Chinese painting have obvious characteristics of the painter's personality, and achieve the function of lyricism, unobstructed spirit, freehand brushwork, and then express the artist's aesthetic ideal. Temperament, soul, character, this is what ordinary people call "painting like his people." In modern and contemporary Chinese landscape painting, the line language should be innovated on the basis of inheriting tradition. However, since the development of Chinese landscape painting and its "line" language is going through thousands of years of history, with deep historical roots and cultural accumulation, it is quite difficult to jump out of the traditional imprisonment and create a new "line" language on this basis. But modern and contemporary painters, such as Huang Binhong, Pan Tianshou, Zhang Ding, Zhang Ding and so on, have innovated "line" language under the premise of both tradition and tradition, and become a model for future generations to learn. This also provides a possible and new development direction for contemporary landscape painters to innovate "line" language under the new background. Inheriting tradition is not only inheriting traditional technique, but also inheriting traditional culture and spirit thought. Innovation "line" language should abandon the dross of tradition, take the essence of tradition, at the same time, it should expand its vision and selectively absorb the factors of language innovation of "line" of landscape painting in the new period, under the background of the new era, To give new vitality to the language of "line" of Chinese landscape painting, and further consolidate the core position of "line" language in Chinese landscape painting.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J212

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