宋元山水画语言形式转变的研究

【作者】 佟玲；

【导师】 孙文忠；

【作者基本信息】 陕西师范大学 ， 美术学， 2009， 硕士

【摘要】 纵观造型艺术的发展轨迹,我们不难发现,有这样一个潜在的规律:一般都是从简到繁,从实用到审美,从无意识到有意识,然后再从繁回归到“简”,从有意识回归到“无意识”,完成一个“轮回”。应当指出的是,这个轮回绝对不是简单机械的无意义的重复,而是带有肯定的否定,是符合辨证唯物主义的否定之否定的规律的。山水画的发展演变也符合这一规律,它由最初技法的单一到渐趋完美,呈现出由简到繁、或简或繁、由繁复简的由初创到成熟的发展轨迹。我们以宋元山水画的语言形式的发展转变为例,这一规律不辩自明。宋元时期是中国山水画发展史上最重要的历史阶段,也是中国山水画形成审美规范、构建其独特的符号体系一艺术语言时期。这一时期山水画有了长足发展,其语言形式也随之发生了几次根本性的转变。一是北宋到南宋,山水画的语言形式出现了由繁到简的转变。二是由南宋至元,出现了向简率方向的变格。在这一转变过程中,“简化”是其总的发展趋势。“简”是中国传统绘画理论在长期发展演变过程中形成的具有民族特色的命题和范畴之一。它与“繁”并不是相对的概念,不单指数量的多少,而是包含内在精神的“简”。从认知学的角度来看,尚简是人类共同心理。无论为诗、为文、为画,尚简的风尚在我国古已有之。在中国古代绘画中,“简”是一以贯之的艺术理念,对“简化”的追求贯穿中国传统绘画艺术始终。中国画论中的繁简结合、尚简去繁思想体现了古人明确的艺术“简化”意识。“简化”必须经过一个发展过程,即由繁至“简”,方能达到一种更高的境界。而这一过程,实质上是包含两个相逆的方面。从外部形象上看,它是由繁而来,删繁就简,但从所含内容和象征意义上看,实际上以简驭繁,貌似简约,实则内蕴丰富多彩。宋元山水画语言形式转变的过程其实就是一个避繁趋简、崇简尚意的演进过程。这个过程并非一蹴而就,由北宋时期的自发的“尚简”倾向,到南宋时期自觉的“尚简”追求,进而逐步发展为元代自然的“尚简”表现,由浅入深,由笔墨的疏简,发展至风格的高简,达到了至高的境界。虽然宋元时期的画家对绘画语言的追求是不同的,但同时也不可否认绘画语言在不同时期的相互关联。不论宋还是元,其山水画的语言形式都是在继承前代山水画传统的基础上进行的创新和发展。二者貌似差异甚远,其实思想还是一脉相承的,都自觉不自觉的实践着“简化”这一规律。北宋至南宋,以诗入画,“简”在布局求空灵,景愈少而气愈长。南宋至元,以书入画,“简”在笔墨求神韵,笔愈简而气愈壮。宋元山水画语言形式之所以发生转变,有内外两个方面的原因。内在原因包括“自律性”的引导作用和绘画主体的精神主导作用两方面。外在原因包括时代背景和社会根源、得天独厚的自然环境、繁简互生的哲学土壤、禅宗美学思想的渗透以及绘画材质变革的影响五个方面。更多还原

【Abstract】 Throughout the development track of the plastic arts, we find that there is such a potential rule:: All is generally conforms to simplicity numerous, from practical to esthetic, from unconsciousness to consciously, then again from numerous returns "simplicity" , from returns "unconsciousness" consciously, completes one "the samsara" .Must point out, this samsara is not absolutely the simple machinery insignificant repetition, but has the affirmative denial, conforms to the dialectical materialism denial of denial rule.The landscape painting development evolves also conforms to this rule, it to gradually hastens solely from the initial technique perfectly, presents from simple to complex, or simple or complex, from the numerous letter in reply from newly established to the mature development track.We transform take the Song Yuan landscape painting language form development as the example, this rule does not debate the self-evident.Song and Yuan period is the development history of Chinese landscape painting of the most important historical stage, but also the formation of aesthetic norms of Chinese landscape painting, building its own unique symbol system - during the artistic language. Landscape painting during this period has developed by leaps and bounds, its language also occurred in the form of a number of fundamental changes. First, the Northern Song Dynasty to the Southern Song Dynasty, the language of the form of landscape painting from the fan to the simple changes. The second is from the Southern Song to Yuan, there has been to change the direction of the simple cell. In this transformation process, the "simplification" is the development trend of the total."The simplification" is the Chinese tradition drawing theory forms in the long-term development successional variation process has the national characteristic proposition and one of categories.It with "numerous" is not the relative concept, not merely exponential quantity how many, but is contains the intrinsic spirit "the simplification" . Looked from the cognition study angle that, Shang Jan was the human common psychology.Regardless of for the poem, for the article, is the picture, Shang Jan’s prevailing custom had existed since ancient times in our country.In China ancient times in the drawing, "the simplification " was the artistic idea which one principle runsed through it all, right "simplification" the pursue passed through the Chinese tradition drawing art throughout.The traditional Chinese painting discussed numerous Jan to unify, Shang Jan goes to the numerous thought to manifest ancient’s explicit art "the simplification" consciousness. "The simplification " must pass through a developing process, namely by numerous to " simplification " , the side can achieve one kind of higher boundary.But this process, in the essence contains two counter aspects.Looked from exterior image that, it is by numerous comes, to simplify by deleting unnecessary material, but from contains in the content and the symbolic significance looked, in fact by Jan Yufan, apparents brief, the regulations embodiment is richly colorful.The Song Yuan landscape painting language form transforms the process was actually one evades numerous hastens Jan, honors Jan Shangyi the evolution process.This process gets it done in one action by no means, by Northern Song Dynasty time spontaneous ""simplification" tendency, to Southern Song Dynasty time aware "simplification" pursue, then developed gradually for the Yuan Dynasty naturally"simplification"the performance, from the shallow to the deep, by words sparse Jan, developed to style high Jan, then became one kind of naturally brief, has achieved to the high boundary.Although the Song Yuan time painter to the drawing language pursue is different, but simultaneously also undeniable drawing language in different time interdependence.No matter Song is the Yuan, its landscape painting language form all is the innovation and the development which in the generation of landscape painting tradition foundation carries on before the inheritance.The two apparent the difference to be really far, actually the thought inherits, all aware practice "simplification" this rule.The Northern Song Dynasty to the Southern Song Dynasty, is picturesque by the poem, "Jan" strives for elusively in the layout, the scenery are less the gas to be longer.The Southern Song Dynasty to the Yuan, is picturesque by the book, "Jan" asks the charm in the words, the pen to recover Jan Erqi to be stronger.The Song Yuan landscape painting language form the reason that has the transformation, has inside and outside two aspect reason.The intrinsic reason includes "the automatic rhythmicity" guidance function and drawing main body spirit leading role two aspects.The external causes the influence five aspects which including the time background and the social root, the advantageous natural environment, the numerous Jan alternate growth philosophy soil, the zen esthetics thought seepage as well as the drawing material quality transforms.更多还原