發(fā)布時(shí)間：2018-11-03 16:09

【摘要】：山水畫作為我國中國畫的主要藝術(shù)形式,存在著其特有的書寫規(guī)范與審美解讀理念。而積墨作為中國山水畫中筆墨的語言對(duì)中國山水畫的表現(xiàn)形式和書寫狀態(tài)也起到了非常重要的表現(xiàn)作用�？梢赃@樣說中國山水畫中的積墨既是構(gòu)成中國山水畫的外在表現(xiàn)形態(tài)、更是中國山水畫表現(xiàn)其本體內(nèi)涵意蘊(yùn)的重要符號(hào)特征,它有著非常渾厚和華麗的韻律,是山水畫中筆墨語言的精髓。從我國的山水畫歷史中來看:許多山水畫大師用盡了其一生的精力去追尋山水畫語言的生成與挖掘工作,他們將強(qiáng)有力的繪畫語言與中國古代豐富的人文精神相合在一起,創(chuàng)造出了許多中國山水畫中的積墨語言,其中極具影響力的有龔賢、黃賓虹、李可染、賈又福等山水畫大師。學(xué)習(xí)山水畫中的積墨之法,首先要掌握好其筆墨層層積累的要領(lǐng),要使得大好的河川江山既要有內(nèi)在的人文精神又要有外在的雄偉壯麗;其次是要提高對(duì)積墨語言的審美能力,將對(duì)積墨法的傳統(tǒng)認(rèn)識(shí)結(jié)合著時(shí)代的變遷賦予其新的意義與活力,才能將大自然的象征符號(hào)在一種歷史的流逝感之中所表現(xiàn)出來。因此,本文在行文上一共分為了五大部分:第一章為總述中國山水畫中積墨法的相關(guān)定義與應(yīng)運(yùn)現(xiàn)狀;第二章論述了中國山水畫中的積墨語言自隋唐開始到明清時(shí)期的演變和傳承的過程;第三章以山水畫積墨語言使用大師:龔賢、黃賓虹、李可染、賈又福、張建華的積墨使用手法為例,分別對(duì)他們的山水畫積墨語言的傳承和創(chuàng)新進(jìn)行了分析;第四章從當(dāng)下山水畫中積墨語言的傳承情況出發(fā),論述了積墨語言對(duì)當(dāng)下山水畫創(chuàng)作和山水畫理論建樹方面的影響;最后是本文的結(jié)論部分,概述了本文的論述經(jīng)過,以及本次論文研究所得出的結(jié)論。希望能夠通過對(duì)中國山水畫積墨語言這般環(huán)環(huán)相扣、層層推進(jìn)的論述,找到中國山水畫積墨語言使用的新途徑、新境界,以期我國傳統(tǒng)文化能夠在新世界的浪潮之中還能保持其固有的沖擊力與感染力。
[Abstract]:Landscape painting, as the main art form of Chinese painting in China, has its unique writing norms and aesthetic interpretation idea. As the language of Chinese landscape painting, ink accumulation plays a very important role in the expression and writing state of Chinese landscape painting. It can be said that the ink accumulation in Chinese landscape painting is not only the external expression form of Chinese landscape painting, but also the important symbol characteristic of Chinese landscape painting showing its essence connotation. It has a very rich and gorgeous rhythm. It is the essence of brush and ink language in landscape painting. Judging from the history of landscape painting in our country, many masters of landscape painting have exhausted all their energy to pursue the creation and excavation of the language of landscape painting. They have combined the powerful painting language with the rich humanistic spirit of ancient China. Created a lot of Chinese landscape painting in the ink language, including Gong Xian, Huang Binhong, Li Keran, Jia Youfu and other masters of landscape painting. To study the method of ink accumulation in landscape painting, first of all, we should master the main points of the accumulation of ink and brush layers, and make the excellent rivers and mountains have both the inherent humanistic spirit and the external majestic splendor; Secondly, it is necessary to improve the aesthetic ability of ink accumulation language, combine the traditional understanding of ink accumulation method with the changes of the times to endow it with new significance and vitality, so that the symbolic symbols of nature can be displayed in a sense of historical lapse. Therefore, the text of this paper is divided into five parts: the first chapter is a general description of the Chinese landscape painting in the ink method related to the definition and the status quo; The second chapter discusses the evolution and inheritance of the ink language in Chinese landscape painting from the Sui and Tang dynasties to the Ming and Qing dynasties. The third chapter takes the master of the use of ink in landscape painting as an example, analyzes the inheritance and innovation of the ink language of landscape painting. The fourth chapter from the current landscape painting in the inheritance of ink language, discusses the current ink language on the current landscape painting creation and landscape painting theory of the impact; The last part is the conclusion of this paper. I hope to find a new way and a new realm of the use of Chinese landscape painting ink accumulation language through the discussion of the Chinese landscape painting ink language so closely linked and advanced layer by layer. It is hoped that the traditional culture of our country can maintain its inherent impact and appeal in the tide of the new world.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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本文編號(hào)：2308275