遣胸中块垒 自家丘壑——以倪瓒、王蒙、弘仁、八大为例谈个性化的山石之形.pdf

南京艺术学院 硕士学位论文 遣胸中块垒 营自家丘壑——以倪瓒、王蒙、弘仁、八大为例谈 个性化的山石之形 姓名：高宇燕 申请学位级别：硕士 专业：美术学 指导教师：方骏 南京艺术学院硕士学位论文 [内容摘要] 在山水画中，形常常得不到应有的重视，其症结在于人们常常把形同形似混淆起来。其实，形似既不 能充分体现形自身的美感，也不能恰当地表现个人的思想感情。形应该从形似中解放出来，它的实际意义 在于淋漓尽致的表达一种独特的个性，而这种个性是与画家自身的个人性格是分不开的。本文以倪瓒、王 蒙、弘仁、八大山人为例，深入探讨画家笔下的山石之形与画家个性的契合关系，进而结合现状，提出对 当今山水画创作的思考：应当明确自身的个性，确立适合自我性情的心中之形，创造自己的一片艺术天地。 [关键词] 山石；形；个性 I 南京艺术学院硕士学位论文 [Abstract] Shape generally receives little attention in landscape paintings, This is because that people always consider shape to be equal to likeness. Actually, likeness can not fully reflect the shape of its own beauty, nor display individual thoughts and feelings appropriately. So I think Shape should be emancipated from likeness.The practical significance of the shape is to show unique personalities that bound up with artists’ character. This article will take Nizan、Wangmeng 、Hongren、Bada as examples, to make an intensive study of the relationship between the mountain’s shape and artist’s character. And combined with the present situation, then put forward a proposal for landscape paintings nowadays: We should make clear that our own personality and establish the suitable shape for ourselves .At this rate, we could discover our own piece of artistic world. [Key words] mountain and rock; shape; personalit II 南京艺术学院硕士学位论文 绪论 在中国传统绘画发展史上，对形神关系的探讨始于人物画，如顾恺之所说的：“以形写神而空其实对， 筌生之用乖，传神之趋失矣。”①突出“神”的重要性，形只是传达“神”的工具而已。这样的观念延续 至今，对