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树是中国传统山水画中重要的元素,山籍树而为衣。魏晋以降,山水画就形成了独立的画科,历经南北朝,隋唐,五代,宋元明清,直至当下,一直在中国传统的绘画中占据主导地位,而且风格体系完备,曾有无数优秀的绘画大师、文人、收藏鉴赏家,为这一张张举世名作发表过言论。每一个时代的山水画的造型特征都是不一样的,都对前期画作中造型风格有所革故鼎新。因此,历代山水画中的树法也就有其不同和相同的地方;按照当下的审美眼光来审视,传统山水画中树的造型特征可以大致分为两类,即写实与写意。每一个朝代由于时代的文化差异及其它各种主客观的因素,导致画家的写实,写意的程度有所不同,譬如,宋代的山水画(尤其是五代,北宋)就以写实为准则。到了元代中国山水画发展的高峰时期,画家们画树,在造型上学习前人的那种写真自然界中的大树,但是又多了一些主观意识的写意性,增添了作者对客观物象的感受,以及通过对客观物象的描写来表现自己的感受和心理状态,元末四大家中的王蒙,黄公望就是典型的这类画家,这种造型方式同样也代表着整个元代的绘画造型特征。因此具有了时代性质。明清绘画中的树法大多强调符号的概念化、程式化和笔墨情趣表达。本文将从写实、写意两大类树的造型意识,及对王蒙不同时期的山水画名作的认识,来分析王蒙山水画中树的造型特征。
Tree is an important element of traditional Chinese landscape painting, mountain trees and clothing. Since the Wei and Jin dynasties, landscape painting has formed an independent painting division. After the Northern and Southern Dynasties, the Sui and Tang Dynasties, the Five Dynasties, the Song, Yuan, Ming and Qing Dynasties, until nowadays, it has always occupied the dominant position in the traditional Chinese painting and the style system is complete. Literati, collector’s connoisseurs, for this one piece of world famous made a comment. The landscape features of every era are different in shape and style, all of which have a revolution in the style of the earlier paintings. Therefore, the tree laws of ancient landscape paintings also have their differences and the same places. According to the current aesthetic perspective, the modeling features of trees in traditional landscape paintings can be broadly divided into two categories, that is, realism and freehand writing. Each dynasty, due to the cultural differences of the times and other various subjective and objective factors, leads to different degrees of realism and freehand expression of the painters. For example, the landscape paintings in the Song Dynasty (especially the Five Dynasties and the Northern Song Dynasty) are based on the realistic principle. At the peak of the development of Chinese landscape painting in the Yuan Dynasty, painters painted trees and learned the great trees of nature in their predecessors, but they added some subtlety of the subjective consciousness and added the author’s impression of the objective objects , As well as through the description of objective objects to express their feelings and mental state, the late Yuan Wang Meng, Huang Gongwang is such a typical painter, this modeling also represents the entire Yuan Dynasty painting modeling features. So has the nature of the times. The tree laws in the Ming and Qing dynasties mostly emphasize the conceptualization, stylization and expressiveness of symbols. This article will analyze the modeling features of the trees in Wang Mengshan’s landscape painting from the modeling awareness of the two kinds of realistic and freehand trees and the cognition of the masterpieces of landscape painting in different periods of Wang Meng.