雪景山水画研究
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摘要
雪景山水画作为中国山水画中的一个生态体,其历史源远流长,并随着历史的发展不断地演进。从萌芽的晋代发展到当代,每个时期都是在继承中有所创造,而具有其独特的艺术生命力。这是一个值得关注的生态体,它经过千余年的发展,在当今艺术多元化的大形势下正日益受到世人的关注。到目前为止,对于这方面的研究还较为薄弱,多为个案性研究或概括性研究,在“理论体系”和“实践体系”方面尚缺少整体性、系统性的研究,我认为每个时期和每个人的实践与理论探索都将成为它向前发展的一种推力。本文将雪景山水画作为研究课题,是基于我从小生长在千里冰封、万里雪飘的关东,是我对所处生活空间的关注与感动。因此,我将通过绘画实践与理论的结合对雪景山水画演进过程,及其未来所面临的问题与发展趋势进行系统地梳理和研究。
本文首先从雪景山水画本体出发,对雪景山水画的起源和演进结合作品进行论述,对其概念进行比较准确的界定,对其本体因素进行系统的梳理。其次,从发展的角度,运用图像学与山水画理论相结合的方式,对各时期雪景山水画作品的特点、绘画技法的演变,以及中国传统哲学思想和西方美术观念对其影响等方面进行研究,以此来说明雪景山水画每个时期都是在继承中有所创造而具有其独特的生态特点。最后,本文重点以雪景山水画的理论为基础与自己在学习和创作雪景山水画过程中零碎而鲜活的感性体会相结合,对雪景山水画的实践从理论上给予总结,并通过我在创作雪景山水画过程中遇到的问题,以及通过问题产生的对当代雪景山水画的语言探索和未来雪景山水画发展的思考等方面进行论述,指出雪景山水画未来的发展既应该是民族的,也应该是世界的。雪景山水画要走向世界、走向未来,离不开对传统文化精神的继承,离不开把民族文化精神融入到雪景山水画创作中,从西方美术、传统美术中汲取营养,并结合各地域的特点进行创作。
通过对雪景山水画的研究,旨在领悟雪景山水画传统与现代的绘画之道,站在当代人的角度进行思考,寻找雪景山水画当代形式、技法的转换以及未来精神价值的传承。以此对雪景山水画的进一步发展产生一定推动作用。
Snow Landscape Painting Chinese landscape painting as an ecological body, its history goes back to ancient times, and with the constant development of the history of evolution. From the embryonic development of the Jin Dynasty to contemporary, each time there are in the succession of creation, and with its unique artistic vitality. This is a body of ecological concern, which after a thousand years of development, a wide range of art in today's situation is increasingly large by the world's attention. So far, research in this area is also relatively week for the case studies or general studies, in the "Theoretical System" and "Practice System" aspects of the research is still a lack of integrity, I think everyone's practice and theory to explore it will become a forward thrust .This article as a research topic Snow landscape is based on the journey of a thousand miles. I grew up in ice , thousands of mile of snow Kanto is where I am concerned about living space an moved . Therefore, I will be painting the combination of practice and theory of the evolution of the snowy landscape, and future problems facing the system and development trends and research to sort out.
This article first body from the snow landscape, the landscape of snow combined with the Origin and evolution of the work carried out on their concept of a more precise definition, its body grooming system factors. Secondly, from a development perspective, the use of images of learning and theory of landscape mode, on the snowy landscape works of the period features of the evolution of painting techniques, as well as the traditional Chinese philosophy and its impact on Western art, such as the concept of research to this snowy landscape to illustrate each period in the succession of creation and has it's unique ecological characteristics. Finally, this article focuses on the theory of snowy landscapes, Based on their learning and creativity in the process of landscapes fragmented and emotional experience of living by combing the practice of landscape painting snow theoretically given conclusion, and through my landscape painting in the creative process of snow problems of landscape painting snow exploration and development of the future landscape of snow and other aspects . of thinking on that snowy landscape. Should be the future development of the nation and the world should be snow landscape to engage the world, into the future . can not be separated from The spirit of the succession of traditional culture, the spirit can not be separated from the culture into the snowy landscape creation, from the Western art, traditional art to draw nutrition, combined with the geographical characteristics of creation.
Snow landscape of the study to understand the traditional and the modern landscape snow scene painting of the road, from the perspective of contemporary thinking, look for snowy landscape of contemporary forms of conversion.
本文首先从雪景山水画本体出发,对雪景山水画的起源和演进结合作品进行论述,对其概念进行比较准确的界定,对其本体因素进行系统的梳理。其次,从发展的角度,运用图像学与山水画理论相结合的方式,对各时期雪景山水画作品的特点、绘画技法的演变,以及中国传统哲学思想和西方美术观念对其影响等方面进行研究,以此来说明雪景山水画每个时期都是在继承中有所创造而具有其独特的生态特点。最后,本文重点以雪景山水画的理论为基础与自己在学习和创作雪景山水画过程中零碎而鲜活的感性体会相结合,对雪景山水画的实践从理论上给予总结,并通过我在创作雪景山水画过程中遇到的问题,以及通过问题产生的对当代雪景山水画的语言探索和未来雪景山水画发展的思考等方面进行论述,指出雪景山水画未来的发展既应该是民族的,也应该是世界的。雪景山水画要走向世界、走向未来,离不开对传统文化精神的继承,离不开把民族文化精神融入到雪景山水画创作中,从西方美术、传统美术中汲取营养,并结合各地域的特点进行创作。
通过对雪景山水画的研究,旨在领悟雪景山水画传统与现代的绘画之道,站在当代人的角度进行思考,寻找雪景山水画当代形式、技法的转换以及未来精神价值的传承。以此对雪景山水画的进一步发展产生一定推动作用。
Snow Landscape Painting Chinese landscape painting as an ecological body, its history goes back to ancient times, and with the constant development of the history of evolution. From the embryonic development of the Jin Dynasty to contemporary, each time there are in the succession of creation, and with its unique artistic vitality. This is a body of ecological concern, which after a thousand years of development, a wide range of art in today's situation is increasingly large by the world's attention. So far, research in this area is also relatively week for the case studies or general studies, in the "Theoretical System" and "Practice System" aspects of the research is still a lack of integrity, I think everyone's practice and theory to explore it will become a forward thrust .This article as a research topic Snow landscape is based on the journey of a thousand miles. I grew up in ice , thousands of mile of snow Kanto is where I am concerned about living space an moved . Therefore, I will be painting the combination of practice and theory of the evolution of the snowy landscape, and future problems facing the system and development trends and research to sort out.
This article first body from the snow landscape, the landscape of snow combined with the Origin and evolution of the work carried out on their concept of a more precise definition, its body grooming system factors. Secondly, from a development perspective, the use of images of learning and theory of landscape mode, on the snowy landscape works of the period features of the evolution of painting techniques, as well as the traditional Chinese philosophy and its impact on Western art, such as the concept of research to this snowy landscape to illustrate each period in the succession of creation and has it's unique ecological characteristics. Finally, this article focuses on the theory of snowy landscapes, Based on their learning and creativity in the process of landscapes fragmented and emotional experience of living by combing the practice of landscape painting snow theoretically given conclusion, and through my landscape painting in the creative process of snow problems of landscape painting snow exploration and development of the future landscape of snow and other aspects . of thinking on that snowy landscape. Should be the future development of the nation and the world should be snow landscape to engage the world, into the future . can not be separated from The spirit of the succession of traditional culture, the spirit can not be separated from the culture into the snowy landscape creation, from the Western art, traditional art to draw nutrition, combined with the geographical characteristics of creation.
Snow landscape of the study to understand the traditional and the modern landscape snow scene painting of the road, from the perspective of contemporary thinking, look for snowy landscape of contemporary forms of conversion.
引文
1 刘治贵.中国绘画源流.湖南美术出版社,2003,p255
2 陈传席.中国山水画史.天津人民美术出版社,2006,p3
3 郭韵华.从皴法的发展看中国山水画审美取向的变化与内涵关联.湖南师范大学,2003·p2
4 陈传席.中国绘画美学史.人民美术出版社,2001,p4
5 王文娟.中国画色彩的美学探渊.中央编译出版社,2006,p83
6 蒋跃.中国当代水彩画研究..轻工业出版社,2007,p38
7 叶朗.中国美学史大纲.上海人民出版社,2005,p31
8 王永亮.中国画与道家思想.文化艺术出版社,2007,p53
9 朱良志.生命清供.北京大学出版社,2007,p53
10 苏曼丽.禅宗与中国画--妙悟不在多言.新京报,2008,p2
11 宗白华.美学散步.上海人民出版社,1981,p24
12 陈传席.中国绘画美学史.人民美术出版社,2001,p261
13 郑午昌.中国画学全史.上海古籍出版社,2001,p330
14 陈浩.水墨都市绘画研究.荣宝斋出版社,2007,p132
15 卢平.中国名画家全集--于志学.河北教育出版社,2005,p83
16 俞建华.中国古代画论类编.人民美术出版社,2006,p20-21
17 章华,余式晖.冰雪山水画论.北京:中国文联出版公司,1988,p28
18 丘挺.宋代山水画造境研究.清华大学美术学院,2006,p93
19 中国美术家协会理论委员会,四川大学艺术学院.民族美术传统的当下意义.四川美术出版社,2007,p189
20 卢平.中国名画家全集--于志学.河北教育出版社,2005,p64
[1]刘治贵.中国绘画源流.湖南美术出版社,2003
[2]章华,余式晖.冰雪山水画论.中国文联出版公司,1988
[3]王永亮.中国画与道家思想.文化艺术出版社,2007
[4]沈柔坚.中国美术辞典.上海辞书出版社,1987
[5]朱良志.生命清供.北京大学出版社,2007
[6]卢平.中国名画家全集--于志学.河北教育出版社,2005
[7]姜寿田.当代国画流派地域风格史.西泠印社出版社,2006
[8]张同标.北派山水画论研究.人民出版社,2006
[9]王文娟.中国画色彩的美学探渊.中央编译出版社,2006
[10]陈履生.近现代绘画.河北教育出版社,2004
[11]中国美术家协会理论委员会,四川大学艺术学院.民族美术传统的当下意义.四川美术出版社,2007
[12]梁漱溟.东西文化及其哲学.上海人民出版社,2006
[13]李倍雷.中国山水画与欧洲风景画比较研究.荣宝斋出版社,2006
[14]张国刚.佛学与隋唐社会.河北人民出版社,2002
[15]姜耕玉.艺术辩证法--中国艺术智慧形式.高等教育出版社,2006
[16]赵权利.中国古代绘画技法、材料、工具史纲.广西美术出版社,2006
[17]宗白华.美学散步.上海人民出版社,1981
[18]陈传席.中国山水画史.天津人民美术出版社,2001
[19]叶朗.中国美学史大纲.上海人民出版社,1985
[20]徐建融.中国画的传统与二十一世纪,长风论坛演讲集.天津人民美术出版社,2007
[21]俞建华.中国古代画论类编.人民美术出版社,2006
[22]郑午昌.中国画学全史.上海古籍出版社,2001
[23]陈浩.水墨都市绘画研究.荣宝斋出版社,2007
[24]丹纳(法),傅雷译.艺术哲学.天津社会科学院出版社,2007
[25]苏利文(英),陈瑞林译.东西方美术的交流.江苏美术出版社,1998
[26]阿尔伯特.冯.勒克科|译者(德).中亚艺术与文化史图鉴.中国人民大学出版社,2005
[27]斯蒂芬.戴维斯(美),艺术哲学.上海人民美术出版社,2008
[28]陈敬友.两宋雪景寒林境界对白山黑水山水画创作的启示.艺术教育.2007,4:95-96
[29]黄千.长白山花鸟画创作方略.美术大观.2006,9:22-24
[30]王权朝.西部山水画创作应体现地域文化特征.美术大观.2007,2
[31]蓝承铠.论雪景山水.新美术.2003,1:61-63
[32]肖松.白银世界三斗墨---于志学和他的冰雪山水画.中外文化交流1997
[33]李颉刚.从于志学的冰雪山水画看人与自然的关系.滨州学院学报.2005,4:89-90
[34]李朋.于志学冰雪山水画的创造.艺术百家.2006,5
[35]古原宏伸(日).日本近八十年来的中国绘画史研究.中国美术史学研究(朵云第67集).2008,1
[36]苏曼丽.禅宗与中国画--妙悟不在多言.新京报.2008
[37]卢平.笔墨冰雪:[硕士学位论文].北京:中央美术学院人文学院,2005
[38]韦自强.中国画的民族性初探:[硕士学位论文].兰州:西北师范大学敦煌艺术学院,2003
[39]黄琼.我谈青绿山水画:[硕士学位论文].南京师范大学美术学院,2007
[40]胡应康.复归自然--中国山水画视觉心理探源:[博士学位论文].北京:清华大学美术学院,2006
[41]丘挺.宋代山水画造境研究:[博士学位论文].北京:清华大学美术学院,2006
[42]周华平.地域文化与中国山水画:[硕士学位论文].长沙:湖南师范大学,2007
[43]郭韵华.从皴法的发展看中国山水画审美取向的变化与内涵关联:[硕士学位论文].长沙:湖南师范大学,2003
2 陈传席.中国山水画史.天津人民美术出版社,2006,p3
3 郭韵华.从皴法的发展看中国山水画审美取向的变化与内涵关联.湖南师范大学,2003·p2
4 陈传席.中国绘画美学史.人民美术出版社,2001,p4
5 王文娟.中国画色彩的美学探渊.中央编译出版社,2006,p83
6 蒋跃.中国当代水彩画研究..轻工业出版社,2007,p38
7 叶朗.中国美学史大纲.上海人民出版社,2005,p31
8 王永亮.中国画与道家思想.文化艺术出版社,2007,p53
9 朱良志.生命清供.北京大学出版社,2007,p53
10 苏曼丽.禅宗与中国画--妙悟不在多言.新京报,2008,p2
11 宗白华.美学散步.上海人民出版社,1981,p24
12 陈传席.中国绘画美学史.人民美术出版社,2001,p261
13 郑午昌.中国画学全史.上海古籍出版社,2001,p330
14 陈浩.水墨都市绘画研究.荣宝斋出版社,2007,p132
15 卢平.中国名画家全集--于志学.河北教育出版社,2005,p83
16 俞建华.中国古代画论类编.人民美术出版社,2006,p20-21
17 章华,余式晖.冰雪山水画论.北京:中国文联出版公司,1988,p28
18 丘挺.宋代山水画造境研究.清华大学美术学院,2006,p93
19 中国美术家协会理论委员会,四川大学艺术学院.民族美术传统的当下意义.四川美术出版社,2007,p189
20 卢平.中国名画家全集--于志学.河北教育出版社,2005,p64
[1]刘治贵.中国绘画源流.湖南美术出版社,2003
[2]章华,余式晖.冰雪山水画论.中国文联出版公司,1988
[3]王永亮.中国画与道家思想.文化艺术出版社,2007
[4]沈柔坚.中国美术辞典.上海辞书出版社,1987
[5]朱良志.生命清供.北京大学出版社,2007
[6]卢平.中国名画家全集--于志学.河北教育出版社,2005
[7]姜寿田.当代国画流派地域风格史.西泠印社出版社,2006
[8]张同标.北派山水画论研究.人民出版社,2006
[9]王文娟.中国画色彩的美学探渊.中央编译出版社,2006
[10]陈履生.近现代绘画.河北教育出版社,2004
[11]中国美术家协会理论委员会,四川大学艺术学院.民族美术传统的当下意义.四川美术出版社,2007
[12]梁漱溟.东西文化及其哲学.上海人民出版社,2006
[13]李倍雷.中国山水画与欧洲风景画比较研究.荣宝斋出版社,2006
[14]张国刚.佛学与隋唐社会.河北人民出版社,2002
[15]姜耕玉.艺术辩证法--中国艺术智慧形式.高等教育出版社,2006
[16]赵权利.中国古代绘画技法、材料、工具史纲.广西美术出版社,2006
[17]宗白华.美学散步.上海人民出版社,1981
[18]陈传席.中国山水画史.天津人民美术出版社,2001
[19]叶朗.中国美学史大纲.上海人民出版社,1985
[20]徐建融.中国画的传统与二十一世纪,长风论坛演讲集.天津人民美术出版社,2007
[21]俞建华.中国古代画论类编.人民美术出版社,2006
[22]郑午昌.中国画学全史.上海古籍出版社,2001
[23]陈浩.水墨都市绘画研究.荣宝斋出版社,2007
[24]丹纳(法),傅雷译.艺术哲学.天津社会科学院出版社,2007
[25]苏利文(英),陈瑞林译.东西方美术的交流.江苏美术出版社,1998
[26]阿尔伯特.冯.勒克科|译者(德).中亚艺术与文化史图鉴.中国人民大学出版社,2005
[27]斯蒂芬.戴维斯(美),艺术哲学.上海人民美术出版社,2008
[28]陈敬友.两宋雪景寒林境界对白山黑水山水画创作的启示.艺术教育.2007,4:95-96
[29]黄千.长白山花鸟画创作方略.美术大观.2006,9:22-24
[30]王权朝.西部山水画创作应体现地域文化特征.美术大观.2007,2
[31]蓝承铠.论雪景山水.新美术.2003,1:61-63
[32]肖松.白银世界三斗墨---于志学和他的冰雪山水画.中外文化交流1997
[33]李颉刚.从于志学的冰雪山水画看人与自然的关系.滨州学院学报.2005,4:89-90
[34]李朋.于志学冰雪山水画的创造.艺术百家.2006,5
[35]古原宏伸(日).日本近八十年来的中国绘画史研究.中国美术史学研究(朵云第67集).2008,1
[36]苏曼丽.禅宗与中国画--妙悟不在多言.新京报.2008
[37]卢平.笔墨冰雪:[硕士学位论文].北京:中央美术学院人文学院,2005
[38]韦自强.中国画的民族性初探:[硕士学位论文].兰州:西北师范大学敦煌艺术学院,2003
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