乐住山林,志求寂静——明清四时山水画中的隐与逸.pdfVIP

摘要 摘 要 “乐住山林，志求寂静”出自王维的《请施庄为寺表》。王维在此表中描 述了他母亲参禅礼佛的行为： “亡母故博陵县君崔氏，师事大照禅师三十余年， 褐衣蔬食，持戒安禅，乐住山林，志求寂静。” 这段文字虽然表达的是王维母 亲礼佛的虔诚，体现的却是王维及后世历代隐士们对 “隐逸”的追求，他们向 往寂静的山林，以此来寻求一份心灵上的静谧。那么， “隐逸”思想，又是如 何表现在绘画中的，它与四时山水画又有何联系？本论文将以此为中心，通过 详实的作品分析，深入探讨明清四时山水画中的隐与逸。 论文将从以下五个方面展开论述：第一章，是国内外研究综述以及研究目 的和意义说明；第二章简要概述隐逸思想与山水画科的确立，阐明“隐”与“逸” 的意义并简要了阐述山水画与隐逸思想的联系；第三章说明了四时山水画与隐 逸之间的关系，将“隐”与“逸”在明清四时山水画中的体现进行分类；第四 章借助丰富的作品，深入分析明清山水画中的春、夏、秋、冬之“隐”；第五章 则以代表性艺术家的作品为例，对“逸”在明清四时山水画中的表达进行深入 探讨。 关键词：隐逸；山水画；四时；明清 II 目录 目 录 第1 章 绪论·····················································································1 1.1 概述1 1.2 研究目的与意义1 1.3 国内外研究综述2 1.3.1 隐逸思想与山水画···························································2 1.3.2 中国古代文献中对于四时山水画的研究································3 1.3.3 现当代文献中对四时山水画的研究······································4 1.4 主要内容5 1.5 研究方法5 第2 章 隐逸思想的发展与山水画的联系·················································6 2.1 隐逸思想的概述6 2.1.1 隐逸思想的确立······························································6 2.1.2 “隐”与“逸” 的意义·····························································8 2.2 山水画的发展8 2.2.1 山水画科的确立······························································8 2.2.2 “金碧”与“青绿” 山水··························································9 2.2.3 水墨山水······································································10 2.3 山水画与隐逸思想的联系 11 第3 章 四时山水画与隐逸思想的联系···················································13 第4 章 明清四时山水画中的“隐” ·························································15 4.1 春之隐16 4.2 夏之隐20 4.3 秋之隐21 4.4 冬之隐24 第5 章 明清四时山水画中的“逸” ·········