魏晋南北朝画论研究.pdf

魏晋南北朝画论研究内容摘要魏晋南北朝是中国历史上一个特殊的时代,历时约四百年,期间战乱频繁, 朝代更迭,社会动荡,民不聊生,遭遇了空前的黑暗。同时这又是一个艺术自觉的时代,这一时期的绘画艺术取得了辉煌的成就,涌现出了顾恺之、宗炳、王微、谢赫、姚最等一批绘画理论家,对后世影响深远。本文探讨魏晋南北朝画论的成就。首先概括说明魏晋南北朝时期的社会经济与历史文化背景,探讨人物品鉴、清谈玄学、佛教造像以及文学理论等等促生这一时期绘画发展和画论产生的各种因素,然后具体分析顾恺之等理论家的绘画理论,并试图分析其理论内涵,阐释其核心概念和基本范畴。第一章,通过对顾恺之现存的《论画》、《魏晋胜流画赞》和《画云台山记》三篇画论的解读,分析其“传神论”的涵义,以及对后世画论所产生的深远影响。第二章,宗炳的《画山水序》和王微的《叙画》是魏晋南北朝时期重要的山水画理论。宗炳提出的“以形写形,以色貌色”,王微的“拟太虚之体”和“神明降之”,将顾恺之提出的“传神论”应用到山水画领域,强调山水画重在写神的自然美学观,对中国山水画审美标准的确立有重要影响。第三章,谢赫的《古画品录》是我国第一部绘画品评论著,提出“六法论”, 以“气韵生动”为上,对中国绘画史影响深远。姚最在《续画品》提出的“立万象于胸怀”与“心师造化”理论,其评论受画家地位的影响,有失公允。第四章,综合论述徐斡、曹植、陆机、王虞、颜之推、孙畅之诸人的画论观点。综观诸家,他们共同的特点是强调绘画的实际功用,尚未从艺术审美的角度看待绘画。总之,魏晋南北朝画论在中国美学史上有重要的地位,顾恺之的“传神论”, 宗炳、王微的山水画论,谢赫的“六法论"等,对中国审美传统的形成与发展影响深远。这一时期的绘画艺术成就及其绘画理论建树,充分表现了魏晋南北朝的审美寓意和审美倾向,为中国绘画艺术理论的形成奠定了坚实的基础,对后世的绘画艺术及其理论的发展具有深远的影响。关键词:魏晋南北朝,画论,传神,六法,品评 Study oftheTheory ofPainting during Wei--Jin and the Northern&Southern Dynasties Abstract Wei-Jin Northern and Southern Dynasty inChinese history Was aspecial lasted about four hundred years,with wars frequently and Dynasty society was in turmoil;and thepeople livedwith miserable conditions in allunprecedented this all era onsciousness and the artofpainting inthisperiod had gained abrilliant appeared alotoftheorists such asZongBing,GuKaizhi,Wangwei,XieHao, YaoZui and SOon。which had afar-reaching effect on latergenerations. This paper discusses thevarious achievements ofthetheory ofpainting during Wei—Jin Northern and Southern Dynasty,and analyzes the theoretical connotations,grasps the basic category and core paper divided into seven chapters. InthefirstchapteL analyzes the reasons ofdevelopment ofthepainting from thesocial economic,historical andcultural background during theimpacts 011thetheory ofpainting made by characters,Talk metaphysics,literary theory and Buddhist statuary inthis period. Inthesecond chapter,according tOread thethreeexisting articles‘。PaintingThe