探究宋元时期山水画皴法的演变.pdfVIP

摘要 摘 要 山水画的皴法主要分为两大流派——斧劈皴和披麻皴，在山水画的发展中，二者一盛 一衰，相互更替。两大皴法的发起和巅峰亦都是宋元时期，文章着重从宋元讲述两者的兴 起，发展及其内在独立的美学价值。从范宽的《溪山行旅图》中的“雨点皴”，到郭熙 《早 春图》中的 “卷云皴”，再到李唐 《万壑松风图》的 “小斧劈皴”，完成了皴法点、线、 面的一种过渡，也是皴法的发展与完善；黄公望的 《富春山居图》主要运用的长披麻皴， 写意性较强，主要师从赵孟頫，其思想和理论是受其影响，赵孟頫的思想亦是 “尙古意” “以书入画”，在作画上更是直追宋以前。宋代主要的思想潮流是理学，更多的从大自然 中取景，元代主要学派为道教，崇尚以心为主，抒发心中逸气。从可游可居到抒情写意， 在笔墨表达上，一方情感的直接表达，一方内敛其中，一方写实山景近在眼前，一方抒情 置山于千里之外，一方侧锋淋漓畅快，一方中锋收敛其中，两者各有千秋，褒贬不一，均 是值得我们学习。宋元时期是中国山水画发展的黄金时期，其皴法表现和各种笔墨表达臻 于完善，文章集中对宋元山水画的皴法形式和笔墨表现进行较为系统的研究。 关键词：山水画，皴法，宋元时期，笔墨 I Abstract Abstract Thepainting ofthelandscapepainting isdividedintotwomajor schools-the axe divides is chapped and the technique of wrinkling,in thedevelopment oflandscapepainting,thetwo on -e or a decline,mutual replacement. The origin and peak ofthe two methods are also Song an dYuan Dynasties,sothisarticle focusesontherise and development ofthetwofrom the Songa ndYuan Dynasties,thedevelopment anditsinheret independent aestheticvalue.From thewide Creek travelmapin the raindropscrackto GuoXi early springmapin the CirrusCrack,a ndthen to Li Tang Wanhe Songfengmapofthe small ax crack ,The completion ofthe crac k method point, line, surface of a transition,but also the development and perfection ofthe la w;Huang Gongwangs Dwelling in the Fuchun Mountainsmainly used in the LongPimiao Cracked,freehand strong,themain division Zhao Mengfu, itsthinkingAndthetheory is affecte dby it,ZhaoMengfusthought isalso respected ancient meaning tobook intothepainting,i n thepainting is straight ahead ofthe SongDynasty.Themain ideologicaltrend ofthe SongDyn asty is science,more from thenature oftheviewfinder,themain school oftheYuan Dynasty fo r the Taoist,advocating theheart-based,expresstheheartsof extravagance.From thetour can b e settledto