石濤世俗觀念研究
發(fā)布時(shí)間：2018-08-16 09:27
【摘要】：自近代以來“清初四僧”的繪畫一直是現(xiàn)代文人喜歡研究的對(duì)象,四僧山水畫所傳達(dá)出的人文情懷,也一直倍受關(guān)注。但是在以往的研究中關(guān)于他們思想方面的研究較少,本文選取四僧中比較有代表性的石濤做個(gè)案研究。 天下熙熙,皆為利來；天下往往,皆為利往。人無不為利益奔波,并且樂此不疲。在明末清初那種江山易代的歷史背景之下,真正做到舍名棄利的沒有幾人,石濤也不例外。在他取得極高藝術(shù)成就的同時(shí)也流露出世俗的思想,身世的凄慘、現(xiàn)實(shí)中的苦悶,通過繪畫的方式解脫,而遁入佛門也成為石濤寄托情懷的方式。自明末清初以來山水畫的創(chuàng)作達(dá)到了高潮,這一時(shí)期的山水畫與前代山水畫相比不僅是題材、筆墨方面的革新,更多的是在當(dāng)時(shí)的歷史背景的驅(qū)動(dòng)之下文人心靈及思想上的轉(zhuǎn)軌。石濤的繪畫是他心靈的歸渡,寄托亡國之痛、哀思之感。他的內(nèi)心是未脫俗的常人,是一個(gè)有強(qiáng)烈內(nèi)心沖動(dòng)的人。出家為僧的另一方面也是為了保全性命,形勢(shì)所逼迫,其真正的內(nèi)心并不想做和尚,他從骨子里想要改變自己的人生軌跡。本文從石濤的思想產(chǎn)生、轉(zhuǎn)變與革新等幾個(gè)方面進(jìn)行一下幾部分的闡述和研究。 第一部分從時(shí)間上總體概述明末清初的歷史背景并且對(duì)石濤的生平做一個(gè)介紹。通過這兩點(diǎn)引出石濤世俗思想產(chǎn)生的的原因。 第二部分講述石濤一生思想的遞變,從石濤思想的遞變中尋找世俗思想的影子。具體從經(jīng)歷、郊游、繪畫幾個(gè)方面著手探討,重點(diǎn)論述石濤世俗性思想產(chǎn)生的深層次原因及世俗思想的體現(xiàn)。 第三部分重點(diǎn)探討石濤的世俗思想在繪畫、詩文、題跋中的體現(xiàn)。通過石濤的接駕和問賞于皇家的思想做深入的研究,剖析其世俗思想的具體體現(xiàn)。 第四部分總結(jié)全文,對(duì)石濤世俗思想進(jìn)行概括和延伸。
[Abstract]:Since modern times, the paintings of the four monks in the early Qing Dynasty have always been the object of modern scholars'study. The humanistic feelings conveyed by the landscape paintings of the four monks have also attracted much attention.
Under the historical background of the late Ming and early Qing Dynasties, few people really abandoned their fame and wealth, and Shi Tao was no exception. While he made great artistic achievements, he also revealed his secular thoughts, his life was miserable and unfortunate. Shi Tao's creation of landscape paintings has reached a climax since the late Ming and early Qing Dynasties. Compared with the landscape paintings of the previous dynasties, landscape paintings in this period are not only subject matters, but also innovations in brush and ink. They are driven by the historical background of the time. Shi Tao's paintings are the return of his soul, the sustenance of the pain of national subjugation, the feeling of mourning. His heart is not vulgar, is a person with a strong inner impulse. This paper expounds and studies Shi Tao's thought, transformation and innovation.
The first part gives a general overview of the historical background of the late Ming and early Qing Dynasties and an introduction to Shi Tao's life.
The second part tells the evolution of Shi Tao's thought in his whole life, and seeks the shadow of secular thought from the evolution of Shi Tao's thought.
The third part focuses on the reflection of Shi Tao's secular thought in painting, poetry, inscriptions and postscripts.
The fourth part summarizes the whole text and summarizes and extends Shi Tao's secular thought.
【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】：2014
【分類號(hào)】：J209.2
本文編號(hào)：2185577
[Abstract]:Since modern times, the paintings of the four monks in the early Qing Dynasty have always been the object of modern scholars'study. The humanistic feelings conveyed by the landscape paintings of the four monks have also attracted much attention.
Under the historical background of the late Ming and early Qing Dynasties, few people really abandoned their fame and wealth, and Shi Tao was no exception. While he made great artistic achievements, he also revealed his secular thoughts, his life was miserable and unfortunate. Shi Tao's creation of landscape paintings has reached a climax since the late Ming and early Qing Dynasties. Compared with the landscape paintings of the previous dynasties, landscape paintings in this period are not only subject matters, but also innovations in brush and ink. They are driven by the historical background of the time. Shi Tao's paintings are the return of his soul, the sustenance of the pain of national subjugation, the feeling of mourning. His heart is not vulgar, is a person with a strong inner impulse. This paper expounds and studies Shi Tao's thought, transformation and innovation.
The first part gives a general overview of the historical background of the late Ming and early Qing Dynasties and an introduction to Shi Tao's life.
The second part tells the evolution of Shi Tao's thought in his whole life, and seeks the shadow of secular thought from the evolution of Shi Tao's thought.
The third part focuses on the reflection of Shi Tao's secular thought in painting, poetry, inscriptions and postscripts.
The fourth part summarizes the whole text and summarizes and extends Shi Tao's secular thought.
【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】：2014
【分類號(hào)】：J209.2
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 潘望森;;中國山水畫皴法探討[J];合肥師范學(xué)院學(xué)報(bào);2008年02期
2 雷濤;;宋明理學(xué)與畫學(xué)[J];蘭州學(xué)刊;2006年03期
3 彭亞非;論石濤畫論中的法與化[J];美術(shù);1989年08期
4 薛永年;畫法“關(guān)”通書法“津”——也談石濤的一畫論[J];美術(shù)研究;1988年01期
5 陳傳席;石濤《畫語錄》中“生活”正解[J];美術(shù)研究;1989年02期
6 張長虹;;石濤“一枝”問題新證[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2010年01期
7 賀園茂;;山水畫學(xué)習(xí)散談[J];美術(shù)界;2008年12期
8 程林輝;從石濤到“揚(yáng)州八怪”——兼論清前期畫壇的革新思潮[J];社會(huì)科學(xué)家;1987年01期
9 喬治忠;;說《康熙起居注》[J];史學(xué)史研究;1991年01期
10 程乃蓮;;淺議個(gè)性與個(gè)性化繪畫語言[J];雁北師范學(xué)院學(xué)報(bào);2006年04期
相關(guān)博士學(xué)位論文 前1條
1 吳瓊;明末清初的文學(xué)嬗變[D];上海師范大學(xué);2012年
，本文編號(hào)：2185577
本文鏈接：http://www.wukwdryxk.cn/wenyilunwen/huihuayishu/2185577.html
