發(fā)布時(shí)間：2018-10-21 09:58

【摘要】：唐代，禪宗與詩歌的興起，奠定了中國傳統(tǒng)水墨畫的文化基礎(chǔ)；宋代，禪學(xué)的進(jìn)一步發(fā)展，使傳統(tǒng)水墨畫的畫法畫理以及審美標(biāo)準(zhǔn)逐漸構(gòu)建；元代，遁世思想，促使傳統(tǒng)水墨畫在個(gè)人精神世界的覺醒；明清時(shí)期，禪僧和遺民畫家讓傳統(tǒng)水墨畫在個(gè)性精神和復(fù)古主義上覺醒；近現(xiàn)代，西方思想，促使了傳統(tǒng)水墨畫在觀念和方法論上的覺醒。佛教的傳入與禪宗思想在中國的形成對文人士大夫的覺醒作用導(dǎo)致了水墨畫的萌生和發(fā)展。自唐代傳統(tǒng)水墨畫得到重視以來，，經(jīng)宋、元、明、清各朝代發(fā)展和變革，禪宗在吸收了中國儒道本土思想后形成了自己獨(dú)特的文化內(nèi)涵，它不只是一種宗教，而是一種文化現(xiàn)象。從它在中國大地上形成的那一刻開始便影響著繪畫領(lǐng)域，使傳統(tǒng)水墨畫的地位在唐代得到重視，自唐以后逐漸在筆墨運(yùn)用、空間處理、物象特點(diǎn)、構(gòu)圖形式上影響著水墨畫的發(fā)展。加之禪詩、禪茶與水墨畫藝術(shù)的相互交融和相互滲透，從而深刻地影響水墨畫的“意境”。縱觀水墨畫的發(fā)展脈絡(luò)，水墨畫中大多數(shù)變革和發(fā)展都是以“筆墨”為核心內(nèi)容，筆者認(rèn)為，水墨畫中的“意境”應(yīng)得到重視。要了解“意境”之內(nèi)涵，又必須了解影響“意境”的因素，禪宗思想便是影響中國傳統(tǒng)水墨畫“意境”的重要因素。本文的寫作，意在通過對史料書籍、論文期刊的梳理，對作品圖式分析，將禪宗思想對傳統(tǒng)水墨畫意境的影響過程予以結(jié)構(gòu)分化，再重組后呈現(xiàn)出來，目的是揭示中國傳統(tǒng)水墨畫在筆墨運(yùn)用、空間處理、物象特點(diǎn)、構(gòu)圖形式、藝術(shù)精神等層面的特點(diǎn)，以理清禪宗思想與中國傳統(tǒng)水墨畫意境之淵源。
[Abstract]:Tang Dynasty, the rise of Zen and poetry, laid the cultural foundation of Chinese traditional ink painting; Song Dynasty, the further development of Zen study, so that the traditional ink painting principles and aesthetic standards gradually constructed; Yuan Dynasty, the idea of recluse, To promote the awakening of traditional ink painting in the world of individual spirit; during the Ming and Qing dynasties, Zen monks and painters let the traditional ink painting awaken in the spirit of individuality and retro antiquity; in modern times, in western thought, To promote the traditional ink painting in the concept and methodology of the awakening. The introduction of Buddhism and the formation of Zen thought in China caused the initiation and development of ink painting. Since the traditional ink painting of the Tang Dynasty has been attached importance to, through the development and reform of Song, Yuan, Ming and Qing dynasties, Zen Buddhism has formed its own unique cultural connotation after absorbing the local thought of Chinese Confucianism and Taoism, and it is not just a religion. It's a cultural phenomenon. From the moment it came into being on the earth of China, it influenced the field of painting, and made the position of traditional ink painting more important in the Tang Dynasty. Since the Tang Dynasty, it has been gradually applied in the use of ink and brush, space processing, and the characteristics of objects. The form of composition affects the development of ink painting. In addition, Zen poetry, Zen tea and ink painting art intermingle and permeate each other, thus profoundly affecting the "artistic conception" of ink and wash painting. Throughout the development of ink painting, most of the reform and development of ink painting is "ink" as the core content, the author believes that the ink painting "artistic conception" should be paid attention to. In order to understand the connotation of "artistic conception" and the factors that influence "artistic conception", Zen thought is the important factor that affects the "artistic conception" of traditional Chinese ink painting. The purpose of this paper is to analyze the schemata of the works by combing the historical materials and periodicals, to divide the influence process of Zen thought on the artistic conception of traditional Chinese ink painting, and to present it after recombination. The purpose of this paper is to reveal the characteristics of traditional Chinese ink painting in the aspects of application, spatial treatment, image characteristics, composition form, artistic spirit and so on, in order to clarify the origin of Zen thought and artistic conception of Chinese traditional ink painting.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 錢正坤;禪宗與藝術(shù)[J];美術(shù)研究;1986年03期

2 朱良志;;八大山人繪畫的“怪誕”問題[J];文藝研究;2008年08期

本文編號：2284761