試析明清文人畫中的浪漫主義情懷
發(fā)布時間：2018-08-07 14:39
【摘要】：浪漫主義作為一種藝術創(chuàng)作方法,最主要的特點是：在反映客觀現(xiàn)實上側重對主觀內心世界的挖掘、表現(xiàn)對主觀理想世界的向往、強調主觀情感的抒發(fā)；用奔放熱烈的形式語言、夸張個性的表現(xiàn)手段來塑造形象；熱愛自然、崇尚自然、自由率真的追求自然之美；崇尚真我、毫不媚俗的審美追求；簡言之就是主觀抒情,張揚個性,自然為美,崇尚真我。中國古代文人畫,一直注重個人精神的表達、思想感情的表露、自然情趣的體悟和自我風格的追求,到了明清時期,這種趨勢伴隨著政治、經濟、文化的延續(xù)與發(fā)展愈演愈熱,文藝界封建叛逆精神強烈,文人書畫勃興成熟,文人抒發(fā)強烈的“自我表現(xiàn)”的意識凸顯,此時的繪畫創(chuàng)作不僅是文娛,更注重抒發(fā)情懷,宣泄感情,主張發(fā)展“自然之性”,獨抒性靈,繪畫作品更是不拘成法,縱意所如。文人畫家通過酣暢淋漓的筆墨、夸張意象的造型、自由成趣的自然來表達自己強烈的主觀感情。比如,明徐渭大寫意的酣暢淋漓、陳洪綬人物畫的夸張變形；清四僧的狂放不羈、揚州畫派的寓情抒懷,無一不在感性自由的自然畫面中抒發(fā)內心、張揚情感,出現(xiàn)了唯情,唯個性是尊的審美信息,表現(xiàn)出更加抒情化、理想化、個性化和自由化的藝術特征,體現(xiàn)出強烈的浪漫主義情懷。盡管浪漫主義概念的提出是在18世紀的西方,盡管在中國古代沒有浪漫主義的美學概念,但浪漫主義的美學形態(tài)在中國古代藝術中卻是始終存在的。由此便可以將浪漫主義與中國古代藝術現(xiàn)象聯(lián)系起來,通過體悟明清文人畫中所包含的浪漫主義精神,感受文人畫獨特的情感魅力,以及藝術家們融于自然的胸懷。
[Abstract]:Romanticism, as an artistic creation method, has the following characteristics: to reflect the objective reality, to emphasize the excavation of the subjective inner world, to express the yearning for the subjective ideal world, and to emphasize the expression of subjective emotion; To portray the image with bold and enthusiastic formal language and exaggerated personality; to love nature, to advocate nature, to pursue the beauty of nature freely and frankly; to advocate the true self, not to flirt with the vulgar aesthetic pursuit; in short, to express subjective feelings, Publicity personality, nature for the United States, advocating the true self. Ancient Chinese literati paintings have always paid attention to the expression of personal spirit, the expression of thoughts and feelings, the realization of natural feelings and the pursuit of self-style. In the Ming and Qing dynasties, this trend was accompanied by the continuation and development of politics, economy and culture. The feudal rebellious spirit of literature and art is strong, the literati calligraphy and painting flourish and mature, the literati express a strong consciousness of "self-expression", the painting creation at this time is not only entertainment, but also pay more attention to expressing feelings, catharsis, advocate the development of "nature". Express the spirit alone, painting is even more informal, like vertical intention. Literati painters express their strong subjective feelings through the flowing ink, exaggerated image modeling, free and interesting nature. For example, Xu Wei's great freehand brushwork in the Ming Dynasty, the exaggerated deformation of Chen Hongshou's figure painting; the wild unrestrained of the four monks in the Qing Dynasty, and the emotional expression of the Yangzhou School of painting, all of them express their hearts in the natural picture of sensual freedom. Individuality is the aesthetic information of respect, showing more lyrical, idealized, individualized and liberalized artistic characteristics, reflecting a strong romantic feelings. Although the concept of romanticism was put forward in the 18th century in the West, although there was no romantic aesthetic concept in ancient China, the aesthetic form of romanticism always existed in ancient Chinese art. In this way, romanticism can be connected with ancient Chinese art phenomenon. Through understanding the Romantic spirit contained in literati paintings in Ming and Qing dynasties, we can feel the unique emotional charm of literati paintings, and the artists melt into the mind of nature.
【學位授予單位】：山東理工大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J205
本文編號：2170345
[Abstract]:Romanticism, as an artistic creation method, has the following characteristics: to reflect the objective reality, to emphasize the excavation of the subjective inner world, to express the yearning for the subjective ideal world, and to emphasize the expression of subjective emotion; To portray the image with bold and enthusiastic formal language and exaggerated personality; to love nature, to advocate nature, to pursue the beauty of nature freely and frankly; to advocate the true self, not to flirt with the vulgar aesthetic pursuit; in short, to express subjective feelings, Publicity personality, nature for the United States, advocating the true self. Ancient Chinese literati paintings have always paid attention to the expression of personal spirit, the expression of thoughts and feelings, the realization of natural feelings and the pursuit of self-style. In the Ming and Qing dynasties, this trend was accompanied by the continuation and development of politics, economy and culture. The feudal rebellious spirit of literature and art is strong, the literati calligraphy and painting flourish and mature, the literati express a strong consciousness of "self-expression", the painting creation at this time is not only entertainment, but also pay more attention to expressing feelings, catharsis, advocate the development of "nature". Express the spirit alone, painting is even more informal, like vertical intention. Literati painters express their strong subjective feelings through the flowing ink, exaggerated image modeling, free and interesting nature. For example, Xu Wei's great freehand brushwork in the Ming Dynasty, the exaggerated deformation of Chen Hongshou's figure painting; the wild unrestrained of the four monks in the Qing Dynasty, and the emotional expression of the Yangzhou School of painting, all of them express their hearts in the natural picture of sensual freedom. Individuality is the aesthetic information of respect, showing more lyrical, idealized, individualized and liberalized artistic characteristics, reflecting a strong romantic feelings. Although the concept of romanticism was put forward in the 18th century in the West, although there was no romantic aesthetic concept in ancient China, the aesthetic form of romanticism always existed in ancient Chinese art. In this way, romanticism can be connected with ancient Chinese art phenomenon. Through understanding the Romantic spirit contained in literati paintings in Ming and Qing dynasties, we can feel the unique emotional charm of literati paintings, and the artists melt into the mind of nature.
【學位授予單位】：山東理工大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J205
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