論沈周粗筆山水畫(huà)的審美取向
發(fā)布時(shí)間：2018-08-07 20:44
【摘要】：沈周為明四家之首，粗筆山水是他藝術(shù)成就最為突出的，中晚年之后的繪畫(huà)作品中體現(xiàn)地更為明顯。他晚年癡迷于“佛”、“道”，在繪畫(huà)作品中強(qiáng)調(diào)自我性情的表現(xiàn)。沈周中晚期的繪畫(huà)作品中畫(huà)面顯示出“粗沈”的特征，相比早期的“細(xì)沈”，，更為率意、感人。這也正是我對(duì)沈周粗筆山水的興趣所在。 中國(guó)傳統(tǒng)繪畫(huà)的用筆方式是源遠(yuǎn)流長(zhǎng)的，從唐、宋、元、明、清到近代一直保持著繼承和發(fā)展的過(guò)程。不管是唐代用筆特點(diǎn)“富麗堂皇”，還是宋代以“制作、宏偉、嚴(yán)肅”的宮廷畫(huà)也好，還是元代的抒情寫(xiě)意，明清的四王的程式化，都經(jīng)歷了用筆方式的轉(zhuǎn)變和突破。從元代開(kāi)始出現(xiàn)抒情寫(xiě)意的高峰，可以說(shuō)是一次巨大的變革。人們開(kāi)始用筆以豪氣寫(xiě)畫(huà)，沈周就晚年的繪畫(huà)作品就是深受元代繪畫(huà)思想的影響，同時(shí)這點(diǎn)對(duì)于當(dāng)代山水畫(huà)的發(fā)展有著積極的意義。 本文主要以沈周的以下五方面進(jìn)行論述1、個(gè)人師承關(guān)系2、以《滄州趣圖卷》、《吳門(mén)十二景圖冊(cè)》為例分析粗筆山水的藝術(shù)特色3、粗沈風(fēng)格特點(diǎn)的成因4、粗沈的藝術(shù)價(jià)值和意義5、粗沈風(fēng)格特點(diǎn)形成的必然性。從而進(jìn)一步論證粗沈風(fēng)格特點(diǎn)形成的必然性，以及對(duì)當(dāng)代山水畫(huà)發(fā)展的重要作用和現(xiàn)實(shí)意義。
[Abstract]:Shen Zhou is the head of the four schools of Ming Dynasty, and his artistic achievements are the most prominent, especially in his paintings after his middle and late years. In his later years, he became obsessed with Buddha and Tao, emphasizing self-disposition in his paintings. The paintings in the middle and late period of Shen Zhou show the feature of coarse Shen, which is more frequent and touching than the early fine Shen. This is also my interest in Shen Zhou's thick pen landscape. The traditional Chinese painting has a long history, from Tang, Song, Yuan, Ming, Qing Dynasty to modern times has maintained the process of inheritance and development. The stylized style of the four kings of Ming and Qing dynasties, whether it is "magnificent and magnificent" in Tang Dynasty, or "making, grand, serious" court painting in Song Dynasty, or the lyric brushwork of Yuan Dynasty, has experienced the transformation and breakthrough of the style of writing. The peak of lyrical freehand brushwork appeared in Yuan Dynasty, which can be said to be a great change. People began to use pen to write paintings, Shen Zhou in his later years of painting is deeply influenced by the Yuan Dynasty painting thought, at the same time, this point for the development of contemporary landscape painting has a positive significance. This paper mainly discusses the following five aspects of Shen Zhou: 1. The relationship between individual teachers and teachers. 2. Taking the interesting Picture of Cangzhou and the Library of the Twelve scenery of Wu Men as an example to analyze the artistic characteristics of the rough brush landscape 3, the cause of formation of the coarse Shen style, and the art of coarse Shen. Value and significance 5, coarse Shen style characteristics of the formation of inevitability. Thus further demonstrates the necessity of the formation of coarse Shen style, as well as the important role and practical significance of the development of contemporary landscape painting.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J212
本文編號(hào)：2171292
[Abstract]:Shen Zhou is the head of the four schools of Ming Dynasty, and his artistic achievements are the most prominent, especially in his paintings after his middle and late years. In his later years, he became obsessed with Buddha and Tao, emphasizing self-disposition in his paintings. The paintings in the middle and late period of Shen Zhou show the feature of coarse Shen, which is more frequent and touching than the early fine Shen. This is also my interest in Shen Zhou's thick pen landscape. The traditional Chinese painting has a long history, from Tang, Song, Yuan, Ming, Qing Dynasty to modern times has maintained the process of inheritance and development. The stylized style of the four kings of Ming and Qing dynasties, whether it is "magnificent and magnificent" in Tang Dynasty, or "making, grand, serious" court painting in Song Dynasty, or the lyric brushwork of Yuan Dynasty, has experienced the transformation and breakthrough of the style of writing. The peak of lyrical freehand brushwork appeared in Yuan Dynasty, which can be said to be a great change. People began to use pen to write paintings, Shen Zhou in his later years of painting is deeply influenced by the Yuan Dynasty painting thought, at the same time, this point for the development of contemporary landscape painting has a positive significance. This paper mainly discusses the following five aspects of Shen Zhou: 1. The relationship between individual teachers and teachers. 2. Taking the interesting Picture of Cangzhou and the Library of the Twelve scenery of Wu Men as an example to analyze the artistic characteristics of the rough brush landscape 3, the cause of formation of the coarse Shen style, and the art of coarse Shen. Value and significance 5, coarse Shen style characteristics of the formation of inevitability. Thus further demonstrates the necessity of the formation of coarse Shen style, as well as the important role and practical significance of the development of contemporary landscape painting.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 吳敢;沈周簡(jiǎn)論[J];浙江社會(huì)科學(xué);1999年05期
本文編號(hào)：2171292
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