1、倪瓚山水畫及自題山水畫詩的實景與虛境研究 論文題目： 論文題目：倪瓚山水畫及自題山水畫詩的實景與虛境研究 倪瓚山水畫及自題山水畫詩的實景與虛境研究 專 業(yè)：美術學 業(yè)：美術學 碩 士 生：王永紅 生：王永紅 指導教師：李秦隆 指導教師：李秦隆 摘 要 元代是中國繪畫發(fā)展史上一個特殊的時期，被稱為 “元季四大家”之一的倪瓚作為一位畫家兼詩人，其山水畫及自題山水畫詩在同期畫家中是獨樹一幟的，他的價值就可想而知了

2、。本文從山水畫及自題山水畫詩角度出發(fā)，探究倪瓚在山水畫及自題山水畫詩創(chuàng)作中如何解決實景與虛境。 本文從四個部分來分析、研究： 第一部分是緒論，簡述論文選題緣由及意義，盡而對本選題研究現(xiàn)狀作了回顧，論文研究的方法和核心概念的界定做了必要的說明。 第二部分簡要介紹倪瓚的生活與思想，倪瓚的詩歌主張、倪瓚的畫學主張三方面的情況。 第三部分是核心部分，重點對倪瓚的作品進行實景與虛境的分析：1.實景的分析的重點放在倪瓚的山水畫和相應的題畫詩上，分析

3、筆墨技法及詩所表現(xiàn)的實景；2.虛境的分析的重點是倪瓚的作品圖像的分析；作品中個性化、符號化的意象分析；林泉之思的分析；人生之反映與思考分析。使倪瓚作品中的實景與虛境清晰的呈現(xiàn)出來。 第四部分是對倪瓚創(chuàng)作過程的分析與研究， 主要解決實景與虛境在轉化中所遇到問題：1.創(chuàng)作構思階段的觀物取象及情與景；2.創(chuàng)作物態(tài)化階段的藝術規(guī)律及藝術語言兩個方面。 結論部分，小結倪瓚創(chuàng)作過程中的規(guī)律及思考的問題，明確實景到虛境的轉化的過程及處理方法，以指導我

4、們的山水畫創(chuàng)作，并能傳達出我們的主體精神。同時也是山水畫在當代營造虛境的一種手段與發(fā)展趨勢。 創(chuàng)作實踐，主要介紹自己在攻讀學位期間的學習狀況，把研究的理論成果作為畢業(yè)創(chuàng)作的指導及自己審美取向的形成。 研究方法上，充分利用文獻學，文學，畫學的理論研究成果和方法，吸收現(xiàn)有關倪瓚的研究成果，將一般描述與深入的個案研究有機結合，全面的對倪瓚創(chuàng)作過程進行系統(tǒng)的考察，分析其實景與虛境。并進一步結合自己對當代山水畫虛境營造的認識，在創(chuàng)倪瓚山水畫及自題

5、山水畫詩的實景與虛境研究 Paper topics：Study on Realistic and Visional Scene in Ni Zan’s Landscape Paintings and the Poems for the Landscape Paintings Professional：Fine Arts Master： Wang Yonghong Guidance teachers：Li Qinlong AB

6、STRACT Yuan Dynasty was an important period in Chinese painting history. As a painter and poet, Ni Zan's works were unique among contemporaries. Based on Ni Zan’s poems for his landscape paintings, the paper studies

7、how he dealt with the issues concerning realistic and visional scene. The thesis consists of four chapters. Chapter one is an introduction to the significance, backgroundand approaches of the research, and makes a necess

8、ary explanation to some key concepts.Chapter two introduces briefly Ni Zan's life, ideas and viewpoints on poems and drawing.The body of the thesis lies in Chapter three, focusing on the analysis of realistic and vis

9、ionary scenes in Ni Zan's works. The analysis of realistic scene centers around his paintings and corresponding poems, while the analysis of visionary scene, images in his works.Chapter four analyzes and researches o

10、n Ni Zan’s production process, mainly problems on transformation of realistic and visionary scenes: 1. Abstracting from Viewing as well as emotion and sights in creation process; 2. the artistic rules and language in the

11、 materialization during creating period. The conclusion part summarizes that Ni Zan’s producing rules, what he considered and how he realized the transformation from realistic scene to visionary ones, which can instructs

12、 us in the creation of landscape paintings, conveys our subjective spirit and also is an approach of creating visionary scene in contemporary landscape paintings and a development trend. The author’s creation practice,

13、 mainly the learning in pursuing the degree, putting theories into graduation creation and aesthetic orientation. As to research methods, the author makes full use of the research results and approaches of philology, lit

14、erature and drawing, absorbs existing research findings about Ni Zan, connects ordinary descriptions and in-depth case study and studies comprehensively and systematically the realistic and visional scenes in Ni Zan’s la