發(fā)布時間：2017-12-27 22:26

  本文關(guān)鍵詞：石魯山水畫研究　出處：《西安美術(shù)學(xué)院》2017年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 石魯山水畫 圖式創(chuàng)造 理論闡發(fā) 藝匠經(jīng)營 文化品格

【摘要】：石魯是二十世紀偉大的藝術(shù)家之一,也是飽受爭議的中國畫家。他的探索創(chuàng)新精神,以及對中國文化精神的深刻領(lǐng)悟和發(fā)揚,使他獲得了廣泛的聲譽,成為20世紀中國繪畫開拓前行的耀眼之星。也是20世紀重要畫派“長安畫派”的締造者和領(lǐng)軍人。石魯繪畫藝術(shù),在他身前和身后,都有大批贊譽者和追隨者。關(guān)于石魯及石魯繪畫藝術(shù)的研究,已是目前國內(nèi)對于20世紀美術(shù)研究領(lǐng)域的熱點課題。本文是站在中國山水畫歷史沿革與山水畫當代發(fā)展的視點上對“石魯山水畫”進行的專題性研究。文章以“沿革”為切入點,圍繞中國繪畫傳承的基點:圖式創(chuàng)造、理論闡發(fā)、意匠經(jīng)營和文化品格而展開研究工作。文章主要內(nèi)容:第一章,考察探討了石魯藝術(shù)發(fā)生的背景,涉及石魯?shù)某砷L歷程、師承情況和畫壇交游;第二章,重點探討石魯山水畫風(fēng)格和石魯對山水畫圖式語言的創(chuàng)造。通過全面梳理石魯山水畫作品后,找出了石魯山水畫風(fēng)格遞變的路線圖和風(fēng)格分期的依據(jù),將石魯山水畫分為:中西融合期、返歸民族期、表現(xiàn)主義期和自我抒發(fā)期。在“返歸民族期”一節(jié),解讀了石魯代表作《轉(zhuǎn)戰(zhàn)陜北》,從圖式、表現(xiàn)語言、時間表達、思想性諸方面的陳述,解答了《轉(zhuǎn)戰(zhàn)陜北》何以被稱為20世紀中國畫創(chuàng)新的經(jīng)典和“里程碑”的定位。并就石魯繪畫表現(xiàn)語言,提出石魯藝術(shù)精神和筆墨技法載體的“石魯皴”。從內(nèi)涵、標識性符號、筆法、墨法等方面解讀“石魯皴”;進而,通過對石魯作品的解讀,理解其在藝術(shù)探索上的理論思考和山水畫作品的意境追求,在第三章分析了與石魯作品相關(guān)聯(lián)的石魯畫論,第四章解析石魯山水畫的詩化意境。石魯畫論在“以神造形”統(tǒng)領(lǐng)下,發(fā)揮“以意寫之”,用“劈尸取魂”、“解體再生”的手段,達到“神游四方”、“魂附諸體”。并在實踐環(huán)節(jié)中,石魯特別強調(diào)“意、理、法、趣”。以意境經(jīng)營為出色的石魯山水畫,更多的體現(xiàn)出對“詩畫本一律”美學(xué)精神的傳承;第五章是石魯藝術(shù)精神對“后長安畫家群”和當代繪畫的影響,這種影響是建立在文化品格傳承基點上的文化樣態(tài)的再生。通過對石魯山水畫藝術(shù)所做的較為全面的作品解讀、理論梳理和用思用意之道的綜合研究,得出結(jié)論:石魯山水畫在民族特點、個人風(fēng)骨、革命主題、現(xiàn)代變革諸方面,為實現(xiàn)其“中國作風(fēng)”、“中國氣派”的理想而進行的藝術(shù)探索歷程中,堪稱20世紀中國畫創(chuàng)新的典范。石魯山水畫創(chuàng)作實踐體現(xiàn)著對中國山水畫傳統(tǒng)精神的傳承,并以對“文化品格”的捍衛(wèi)為基點,從圖式創(chuàng)造、理論建樹、詩化意境等方面的開拓貢獻實現(xiàn)了山水畫現(xiàn)代革新。
[Abstract]:Shi Lu was one of the great artists of the twentieth Century, and also a controversial Chinese painter. His exploration and innovation spirit and the profound understanding and development of Chinese cultural spirit made him widely known and became the shining star of Chinese painting in the twentieth Century. It was also the founder and leader of the "Changan painting school", an important school of painting in twentieth Century. Shi Lu's painting art, in front of him and behind him, has a large number of praises and followers. The research on the painting art of Shi Lu and Shi Lu has been a hot topic in the field of art research in twentieth Century. This article is a special study on the "stone Lu landscape painting" from the viewpoint of the historical evolution of Chinese landscape painting and the contemporary development of landscape painting. Based on the "evolution" as the starting point, around the point of painting Chinese inheritance: schema creation, theory analysis, design of business and cultural character of the. The main content of the article: the first chapter investigated the background of Shi Lu art, involving Shi Lu's growth course, teachers and art intercourse; second chapter focuses on the creation of landscape painting style of Shi Lu and Shi Lu of landscape painting language. Through combing Shi Lu landscape painting works, find out the basis of Shi Lu landscape painting style change roadmap and style stage, the Shi Lu landscape ": the integration of Chinese and western, return to the national stage, expressionism period and self-expression period. In the period of "returning to the national period", it interprets the presentation of Shi Lu's masterpiece "fighting for Northern Shaanxi", from the aspects of schema, expression language, time expression and ideology, and explains why it is called the classic and landmark of Chinese traditional painting in twentieth Century. The performance of language and painting of Shi Shi Lu, Lu art spirit and painting techniques of vector "Shi Lu cun". From the connotation, logo, symbol style, ink law and other aspects of interpretation of "Shi Lu Cun"; then, through the interpretation of the works of Shi Lu, understand the artistic exploration of the theoretical thinking and the pursuit of artistic conception of landscape painting, in the third chapter analyzes the related works of Shi Lu Lian Shi Lu painting theory, poetic the fourth chapter analyzes the artistic conception of landscape painting Shi lu. Shi Lu art in "God form" and "meaning, play to write", "split the corpse from the soul" and "disintegration regeneration" means to "everywhere", "the soul of the body". In practice, Shi Lu emphasizes "meaning, reason, law and interest". In the mood for outstanding business Shi Lu landscape painting, more reflect on "the identity between poetry and painting" aesthetic spirit; the fifth chapter is the influence of Shi Lu art spirit of "post Changan painters group" and contemporary painting, this kind of influence is the regeneration pattern of culture based on cultural heritage on the basis of the character. Through the Shi Lu landscape painting art works, a comprehensive interpretation of the theory and way of thinking with the intention of comprehensive research, draw the conclusion: Shi Lu landscape painting in the modern transformation of national characteristics, personal character, revolutionary themes and various aspects, for the realization of the "Chinese style" and "Chinese style" of the ideal the exploration of art history, is a monument to the China painting innovation in twentieth Century. The practice of Shi Lu landscape painting embodies the inheritance of traditional spirit of Chinese landscape painting, and realizes the modern renovation of landscape painting based on the protection of "cultural character" and from the pioneering contributions of schema creation, theoretical creation and poetic artistic conception.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J212

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