笪重光“空境”與“實境”繪畫理論研究
發(fā)布時間：2018-08-13 18:28
【摘要】：在中國傳統(tǒng)繪畫理論的背景下,清代是一個非常重要的時期,文人情懷尤被重視,在其間的創(chuàng)作及理論比比皆是。笪重光作為文人畫家,不僅在書畫創(chuàng)作上形成了自己獨特的風(fēng)格,在理論上的貢獻(xiàn)更是極為突出。他的《畫筌》是具有重要學(xué)術(shù)價值的理論書籍,記述了他對創(chuàng)作的心得和體會。他的革新勇氣和獨創(chuàng)精神在這本著作中得到了理論體現(xiàn)。本文以笪重光及其《畫筌》作為研究對象,力圖深入探討他的巨作《畫筌》中的“實境”與“空境”的美學(xué)思想。笪重光在《畫筌》中不僅詳細(xì)的闡釋了技法、筆墨等在繪畫中的重要性,還獨具創(chuàng)新的提出了“實境”的塑造是為了能夠更好的呈現(xiàn)出“空境”。在《畫筌》中,笪重光主要闡述的是如何通過繪畫技法的突破更好地塑造“實境”的問題。而“實境”與“空境”密不可分。他主張“實景清而空景現(xiàn)”,重點強調(diào)塑造“實境”的重要性。本文以《畫筌》作為切入點,不僅僅是從概念和范疇的角度去研究,也不僅僅是研究“空境”與“實境”對于繪畫創(chuàng)作以及繪畫實踐的意義,而是力圖將“空境”與“實境”的問題放置于清初畫壇中,討論二者對美術(shù)史發(fā)展的意義和影響,力圖還原一個革新和獨創(chuàng)的繪畫理論家的形象。
[Abstract]:Under the background of Chinese traditional painting theory, the Qing Dynasty was a very important period. As a literati painter, Da Zhongguang not only formed his own unique style in calligraphy and painting creation, but also made outstanding contributions in theory. His painting Quan is a theoretical book of great academic value. His innovative courage and originality are theoretically embodied in this work. In this paper, Gala Guang Guang and his painting Quan are taken as the object of study, in order to probe into the aesthetic thoughts of "reality" and "emptiness" in his masterpiece "Quan". Bazaoguang not only explains in detail the importance of techniques, strokes and ink in painting, but also puts forward the creation of "reality" in order to better present the "empty state" in "painting Quan". In "Quan painting", the Gala Gala is mainly about how to better shape the "reality" through the breakthrough of painting techniques. And "reality" and "emptiness" are inseparable. He advocated that "the real scene is clear and empty", emphasizing the importance of shaping the "reality". This paper takes Quan as a starting point, not only from the perspective of concept and category, but also to study the significance of "empty" and "reality" to painting creation and practice. Instead, it tries to put the problems of "emptiness" and "reality" in the painting world in the early Qing Dynasty, discusses their significance and influence on the development of art history, and tries to restore the image of an innovative and original painting theorist.
【學(xué)位授予單位】：揚州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
本文編號：2181818
[Abstract]:Under the background of Chinese traditional painting theory, the Qing Dynasty was a very important period. As a literati painter, Da Zhongguang not only formed his own unique style in calligraphy and painting creation, but also made outstanding contributions in theory. His painting Quan is a theoretical book of great academic value. His innovative courage and originality are theoretically embodied in this work. In this paper, Gala Guang Guang and his painting Quan are taken as the object of study, in order to probe into the aesthetic thoughts of "reality" and "emptiness" in his masterpiece "Quan". Bazaoguang not only explains in detail the importance of techniques, strokes and ink in painting, but also puts forward the creation of "reality" in order to better present the "empty state" in "painting Quan". In "Quan painting", the Gala Gala is mainly about how to better shape the "reality" through the breakthrough of painting techniques. And "reality" and "emptiness" are inseparable. He advocated that "the real scene is clear and empty", emphasizing the importance of shaping the "reality". This paper takes Quan as a starting point, not only from the perspective of concept and category, but also to study the significance of "empty" and "reality" to painting creation and practice. Instead, it tries to put the problems of "emptiness" and "reality" in the painting world in the early Qing Dynasty, discusses their significance and influence on the development of art history, and tries to restore the image of an innovative and original painting theorist.
【學(xué)位授予單位】：揚州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
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，本文編號：2181818
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