畸与残——明清之际书 画 印审美风尚研究-abnormality and disability - study on aesthetic fashion of calligraphy, painting and printing in ming and qing dynasties.docx

中文提要“畸与残”审美观念滥觞于老庄，历代艺术创作中时有佳作，但因这种审美观念有悖儒家温醇雅正的审美传统，故难以得到充分发展。随着明代嘉靖之后社会文化、政治经济的发展，王学崇尚狂狷精神的影响，以及易代之变，加剧了明清之际士人心态、思想的变化，使“畸与残”审美观念有了充分发展的空间。本文立足于明清之际书、画、印艺术创作中“畸与残”的审美现象，以及书、画、印三种不同形式、不同手段的艺术创作如何在“畸与残”的审美观念中相互影响，彼此借鉴，从而形成各自风格的过程。作者认为“畸与残”审美观念所特有的美感因素：震惊、怜悯、抗争，通过外在的一反常态的视觉表现力，彰显内在令人怜悯的情感因素，使欣赏者在“畸与残”的审美体验中能够感受到创作者内心涌动的抗争性，这正是艺术家人格精神的外化，由此揭示了“畸与残”审美观念在主体创作与客体欣赏中已经达成共识，成为一种独立的审美范畴。明清之际“畸与残”审美观念相对集中、频繁的出现于多种艺术形式中，足以证明这种审美观念已经成为一时风尚，并对明清之际书、画、印艺术的发展有着特殊的意义。关键词：畸与残奇与古狂狷明清之际风尚IAbstractTheaestheticconceptof?AbnormalandBroken?originatedfromLaoziandZhuangzi.Inhistory,therearemasterpieceswhichcontainthisconceptiscontrarytotheConfucianismorthodoxaesthetictraditions,itisdifficulttobedevelopedfully.AfterJiajinginMingDynasty,?AbnormalandBroken?aestheticconceptshadamplespacefordevelopmentonaccountofthedevelopmentofculture,economicandpoliticalatthattime.Inaddition,itisbecauseoftheinfluencebyWang?stheoryofrespectingformaniacspirit,andthechangeswhichexacerbatedtransformationinthescholar?spsychologyandideologyinMingandQingDynasties.Thisdissertationisbasedonthephenomenonof?AbnormalandBroken?inthecalligraphy,paintingandsealcuttinginMingandQingDynasties.Iwillanalyzetheaestheticconceptof?AbnormalandBroken?interacteduponeachother,learnedfromeachotherinthedifferentformsandcreativemethodsofcalligraphy,paintingandsealcutting.Then,theprocesswhichformedtheirownstyleofthisthreedifferentChineseartformswillbepresented.AsfarasIamconcernedthattheaestheticfactorswhichareuniquetotheconceptof?AbnormalandBroken?areastonishment,commiserationandstruggle.Throughexternalandunconventionalvisualexpression,theinternalemotionalfactorsofpitifulwillbemanifested,sotheviewercancomprehendartists?contradictionduringtheprocessofcreationfromtheaestheticexperienceof?AbnormalandBroken?.Thecontradictionisexactlytheexternalizationofartists?personalityandspirit,thus,itrevealsthattheaestheticconceptof?AbnormalandBroken?hasreachedaconsensusbetweenthesubjectofcreationandtheobjectofappreciation,andthisconcepthasbeenanindependen