【作者】 罗洁；

【导师】 徐建融；

【作者基本信息】 上海大学 ， 美术学， 2011， 博士

【摘要】 本文以历代陶渊明及其相关题材的美术创作(绘画、书法)为研究对象,以大量相关文字记载和现存作品为实证,采用资料考据、图像分析与接受美学的研究方法,通过实和虚的两个方面,试图寻找陶渊明题材的作品中反映出的中国历史上不同时期创作者在图像中表现出来的审美趣味、价值取向,及整个中国古代美学精神的嬗变。第一部分把陶渊明图像与中国画的“主题传统”相联系,通过陶渊明图像来加强对主题传统的认识,又通过主题传统来加强对陶渊明图像的认识。强调了陶渊明图像是中国美术史上具有核心价值的主题传统,并指出“归去来”是陶渊明图像的主题精神,也是中国传统文人画的核心精神。第二部分阐述了陶渊明图像的历史发展。从唐及以前开始,历经宋、元、明、清五个时间段。从创作的历史文化背景、图像的特点和各个时期的代表作品及代表画家几个方面来阐述。唐代陶渊明的精神刚刚开始为人们所认识,到了宋代才“始遇知音”。宋代“桃花源图”和“归去来图”是画家喜爱表现的题材,陶渊明图像的各个母本也在此时初步形成并出现了里程碑式的大家李公麟。元代以后陶渊明图像有一种趋同的现象,正式走向定型化,赵孟頫和钱选是这一时期的代表人物。明代陶渊明图像开始多元化,创作上更带上了画家的个性色彩,手法也更趋丰富。同时,人物题材开始衰退,山水题材依旧繁盛,花卉题材兴起。清代陶渊明图像创作可以说是“琳琅满目”、数量倍增,随着商品经济和市民文化的发展,陶渊明图像也越来越世俗化。第三部分分析了陶渊明主题中的各个子题。从作为绣像的陶渊明像开始,按照题材把陶渊明主题分为:陶渊明肖象绘画;“归去来”题材绘画;“桃花源”题材绘画;陶渊明诗意图;菊花题材及“虎溪三笑”题材绘画。通过对社会文化背景的回顾,对画家身份的认知及代表作品的分析,来阐述各子题在历史中的发展演化及特点,深化了第二部分的研究。陶渊明人物形象绘画展现的是文人理想的自我;“归去来”题材展现了文人心中对人生道路的选择;“桃花源”题材表现了文人理想中的社会图景;陶渊明诗意图折射了文人们诗意的人生;菊花图作为诗意图的特写是文人精神的象征符号;“虎溪三笑”题材则反映了传统文人“儒、道、禅”三者结合的哲学思想基础。本文的研究在前人既有研究成果的基础上表现为三大创新:一、将陶渊明图像与主题传统结合起来,认识这些图像并不仅仅作为数量庞大的作品而存在于绘画史,更在中国绘画史上体认了一种核心价值的精神,推动着中国绘画史的发展演变。二、在对陶渊明图像的传世作品作更全面整理的基础上:①对每一时代陶渊明图像的不同侧重点和艺术特色进行深入的比较,分析它们的文化背景,相互关系,并揭示其精神内涵;②对陶渊明图像中不同子题作更科学的分类并分析它们在不同时代的不同文化背景及艺术特色,揭示其精神内涵。三、文章最终得出结论:“传统千古不移”,同时又“传统与时俱进”。绘画中的陶渊明,形象的提供了中国文化对于个人的心理和谐,个人和社会的和谐,人类与自然的和谐的最佳表达。同时,这一传统也在持续传承之中与时俱进、不断创新地演绎着新的诠释。更多还原

【Abstract】 This article is trying to find the aesthetic value, value orientation and change of Chinese ancient aesthetics which are expressed in paintings and calligraphy created by artists living in various historical times. These paintings are all related to Yuanming Tao. The way to investigating this is using different methods, such as analysis of literature about Yuanming Tao, studies of his portraits, applying aesthetics of reception and employing both sides of practice and abstract.The first chapter is to connect the portrait of Yuanming Tao with theme’s tradition of Chinese paintings. This way of statement can strength both the readers’recognition of theme’s tradition and acknowledgement of portraits of Yuanming Tao. In the beginning, the article firstly states the effect of tradition on Chinese art history as well as two major traditions,“tradition of master”and“theme’s tradition”. In the following statement, as the theme’s tradition with core value, the portrait of Yuanming Tao is analyzed by its origin and classification. The spirit of“come and go”is stated as the core and representative for Chinese traditional scholar, then the relation between the theme of Yuanming Tao and history of Chinese literature as well as painting is also studied. The conclusion is that the growth of Yuanming Tao theme is accordance with development of literature acceptance, painting and Chinese traditional interests. Finally, the relations between the theme of Yuanming Tao and calligraphy, literati painting, Implicitness of landscape painting and landscape garden were also analyzed.The second chapter states the historical development of Yuanming Tao’s portraits, which is classified into five periods starting from dynasty of Tang and getting through the dynasties of Song, Yuan, Ming and Qing. In this chapter, author explains this development from the following aspects, such as of historic background of paintings, characteristics of paintings, representative paintings of different periods and typical painters. The theme of Yuanming Tao has its own instinct in various time periods. These characters have close relations to the development of literature, paintings and aesthetic value in different times. The spirit of Yuanming Tao starts to get attention since dynasty of Tang, and then becomes popular in Song dynasty.“Tao yuan tu”and“gui qu lai tu”in Song dynasty are the favorite subjects for painters. The various original bases of Yuanming Tao’s portrait start to be established in Song dynasty. A big name of painter as“Gonglin Li”who can be thought as a milestone of this development also step up at the same time. After Yuan dynasty, the portraits of Yuanming Tao become consensus and typical. Mengzhao Zhao and Xuan Qian are the representative painters of this period. Till Ming dynasty, the portraits of Yuanming Tao become more versatile and start to show more characters of individual painters. The creative ways of paintings get into more details. At the same time, paintings related with human subjects are decreasing while flowers and landscape become more popular. In Qing dynasty, the paintings related with Yuanming Tao’s portrait can be titled as“a feast for the eyes”. With the development of commodity-based economy and civilians’literature, the portraits of Yuanming Tao become more and more secular.The third chapter analyzes each sub-topics of Yuanming Tao’s theme. Based on the research subjects, the Yuanming Tao’s theme is classified into six categories. They are as the following: paintings of Yuanming Tao’s portrait; paintings about“gui qu lai”(meaning come and go); paintings about“tao hua yuan”(meaning origin of peach flowers); painting about Yuanming Tao’s poems; paintings about chrysanthemum; paintings about“hu xi san xiao”(meaning three laughs at tiger creek). This chapter reviews the social and literal background and recognition of painters’identities and analysis of representative paintings. Furthermore, it also states the developmental change and characters of every historical period and the emergence of each sub-topic. The paintings of Yuangming Tao’s portrait are to express the“ideal ego”of scholars. The paintings of“gui qu lai”re-illustrate the life choice of Chinese ancient scholars. The paintings of“tao hua yuan”display the ideal social structure in their mind. The paintings of Yuanming Tao’s poem reflect their poetic life style. Both the paintings about chrysanthemum and poem are the symbolic alphabet of Chinese scholars’spirit. The paintings of“hu xiao san xi”demonstrate the philosophy of Chinese ancient scholars, which are the combination of“confucianism”,“Taoism”and“Buddhism”.We might draw a conclusion based on this present study:“tradition never changes”, at same time,“tradition also moves forward with the development of time”. The portrait of Yuanming Tao in the painting provides us the best expression of harmonies between Chinese culture and individual, individual and society, human kind and nature, respectively. At the same time, the tradition also goes forward with both hereditary and changing characters, and creatively makes new definitions about itself.更多还原