明代北宗山水画风格研究.doc

明代北宗山水画风格研究 摘? 要 ???? 在明代初、中期的画坛上，由于受到特殊政治环境、经济环境、文化环境、地理环境等复杂因素的综合影响，北宗山水画极为兴盛，先后涌现出了王履、戴进、吴伟、唐寅、仇英等伟大画家，在绘画风格上也形成了北宗山水画之“北派”风格、“南派”风格、“北宗为体，南宗为用”风格及“青绿”风格四大具体样式。本文首先从绘画“风格”入手重新界定了山水画的“南北宗”理论，进而对北宗山水画的四大风格样式分别进行了源流关系的梳理。紧接着在论文的第二章结合具体的画家及作品，综合使用风格学、图像学、文献学、比较学、心理学等研究方法，重点对明代北宗山水画四大风格展开深入研究。对以王履为代表的“北派”风格与以戴进、吴伟为代表的“南派”风格从哲学和美学及地理学的角度进行了对比研究，对唐寅的“北宗为体，南宗为用”风格与仇英的“青绿”风格从明代中期文人画家的职业化与职业画家的文人化角度进行分析论述。通过四大风格的具体研究揭示出风格演变过程中所遵循的否定之否定的内在规律。在第三章中，本文就明代北宗山水画得以复兴的传统因素、政治因素、文化因素、地理因素、市场因素进行了全方位的探索。第四章则分别论述了明代北宗山水画在理论方面对董其昌“南北宗”理论及石涛画论的影响；对同时代明代院体花鸟画及日本室町时代风景画的影响；以及对二十世纪陈少梅等北宗山水画家的影响。第五章则对明代北宗山水画在明代历史及山水画史上的史学意义进行了论述。 本文从历史的宏观角度对明代北宗山水画的发展过程加以动态的科学研究，通过对明代北宗山水画风格的分类及成因的论述，以及对风格与风格之间前后演变规律的探讨，进而重现明代北宗山水画的完整风格体系。 ? ?关键字：北宗山水画；风格；“北派”；“南派”；“北宗为体，南宗为用”；“青绿” ? THE RESEARCH ON THE NORTH SECT LANDSCAPE PAINTING STYLE OF THE MING DYNASTY ABSTRACT牋? 牋?In the early and medium Ming Dynasty art circle, because of the special political environment, economic environment, cultural environment, geographical and other complex factors, the North Sect Landscape Painting is very flouring.It emerged some great painters like Wang Lv, Dai Jin, Wu Wei, Tang Yin, Qiu Ying. At that time have four specific styles,including the North Sect Landscape Painting style of 揘orthern School? 揝outhern School?style,揟he North Sect as the Body, the South Sect for Use 攕tyle and 揵lue and green 攕tyle four specific styles. First of all, this paper from the painting 搒tyle?proceed with to redefine the landscape painting 揘orth-South Sect?theory, and then to the North Sect Landscape Painting of the four styles were origin relation between comb. Then in the second chapter,talked about some specific artists and works, with stylistics, image science, literature, comparative studies, psychology and other research methods, focusing on the North Sect Landscape Painting style four launched an in-depth study. To Wang Lv represents the 揘orthern School?style and to put into Dai Jin, Wu Wei as the representative of the