论五代宋初北派山水画之精神-美术学专业论文.docxVIP

则重天道，强调个体要在向自然本体的融入中获得意义。这一切，都贯穿 则重天道，强调个体要在向自然本体的融入中获得意义。这一切，都贯穿 于整个的民族文化中，绘画当然也不例外，作为一种可视的图式，它已经 不仅仅是一种生活的记录，透过一幅幅精美绝伦的作品，我们体会到的是 先贤们对人生价值的思考与对将个人融入悠悠天道中以获得永恒的价值追 求。在我们的民族文化中，并没有外在超越的价值观念，即使是外来的佛 教，其外在超越的本体最终也被改造为华严宗和理学的本根本体和禅宗与 心学的内在本体。可以说，我们选择的是一条内在超越的道路，很多时候， 作为个体而独立于天地之间，当你开始直视人生的时候，便会感到一种空 虚和莫名的惶恐，在这个时候，总是想找到一个能够给自己以庇护和温暖 的“家”。所以，那日暮人归的场景便不断的出现在诗词歌赋中。而在五代 宋初的山水画中，那行色匆匆的商旅，烟江迷漾里的归棹，则正是这一家 园情怀的呈现，在这里，艺术家们用自己的智慧和技巧创造了一个梦里的 家园，让那些“前不见古人，后不见来者的孤寂的灵魂能够有一丝的慰 籍与希望。可以说，五代宋初的山水画作为绘画史上的经典，他是以传统 文化精神为底蕴的，是传统文化精神的外化形式。 本文试图从那一时期的绘画作品入手，在作品与画家的艺术主张等绘 画本身的规律中寻找隐藏于其中的艺术精神，通过对建构在传统文化基础 上的艺术精神的理解来反观绘画，在绘画与文化的张力中感受绘画，从而 能够更深刻的理解当时的山水画艺术，为当代山水画艺术的发展提供一些 有意义的参考，为山水画的学习与研究提供一些有价值的思路与方法。 关键词：山水画 北派 艺术精神 家园 传统文化 U AbstractChinese Abstract Chinese painting has a long history whose rudiment appeared in painted pottery pattern as early as the Neolithic period．It has gradually been divided into some branches during i ts long development，such as figure painting，landscape paInting，and flower—and—bird painting．Some elements of landscape painting could be seen in the early works of art：for example，i ts image already appeared in the stone and bri ck rel i efs of Han dynasty．However， these images mainly lied in the description of labor scene，not in the appreciation．Therefore，they were not landscape paintings in true sense．The true landscape painting was originated from the Jin dynasty．There was a great development in landscape painting from Jin dynasty to Liusong，then to Sui and Tang dynasty，but the painters that time often used l ines to draw the outl ine，and then appl ied color for it．ThiS kind of works was called as the blue and green landscape painting．In the middle of Tang dynasty，the ink and wash landscape painting had a great development and there were many significant painters when i t spread into the Tang dynasty then to the beginning of the Song dynasty．The painters in the north school had the greatest influence on the modern landscape painting． ⅡI These These masters created cou