【作者】 何丽；

【导师】 徐建融；

【作者基本信息】 上海大学 ， 美术学， 2013， 博士

【摘要】 本文以图像分析为基础，综合运用了历史学、社会学、文学、比较学等多学科交叉的理论和方法，从三个章节展开对黄山诗画的论述。第一章陈述黄山入画的三大时期。主要从明末清初、民国、新中国三个时期来论述：明中叶以后，普门和尚筑路开山，开发黄山。以徐霞客为首的文人士大夫对黄山的推广，使黄山成为旅游的名山。明末清初，由于江山易主，明遗民画家遁迹山林，情寄书画。以黄山的自然风光寻求心灵的寄托，将悲愤之情和亡国之恨在真切的黄山云海中得到宣泄和排解，，对尘世的逃避和愤恨在山川丘壑里得到升华。而徽商对黄山题材的山水画的大量购藏，是艺术家以黄山为题材的作品在明末清初时期出现了最多的山水题材；民国时期明清个性化画家的被发现，是因为他们的独立精神和创造意识恰好迎合20世纪的社会变革和个性解放思潮。石涛和明末遗民画家的黄山画引发当时画家对写生的兴趣，大批画家赴黄山写生，把写生作为打破清末山水画高度程式化的图像样式的一个重要手段，寻找自我艺术新的立足点；新中国时期的文艺方针改变了传统山水画的价值概念、精神内涵、题材内容和表现方式。画家们响应政府对艺术的干预，加入到“写生运动”中去，直接用笔墨宣纸到生活中去面对真山真水进行写生。黄山再次成为探索新的审美空间和确立个性艺术图式的自然母题。第二章阐述黄山诗画审美特征及风格的转变在不同时代背景下的文化内涵和社会意义。对明清至20世纪的黄山诗画代表艺术家做个案研究，将黄山画作为主体研究，同时运用“以图证史”和“以诗释图”的方式来对画和诗分析和比较而明确黄山诗画的变迁：诗的黄山（唐宋时期）、诗画的黄山（明末清初时期）、画的黄山（民国到新中国时期）。第三章论述黄山画的艺术特色，主要表现为多样化和具体化。这两大特色既由黄山自然地理独特的山川地貌特征所致；更因为明清文化价值观的改变所导致艺术审美观的变化，出现了与古典和谐美相异的一些新艺术个性追求。受“个性解放、创新意识”的文化思潮影响，民国、新中国的黄山画无论写实或者不写实的绘画图像均为多样化和具体化为表现特征。关于黄山诗和黄山画的研究，虽已有学者论及，但少有从“黄山诗画的审美变迁”这个角度来把握唐宋至20世纪的发展脉络、缘由及影响。本文正是在于探讨不同时代文化价值观发生变化下的黄山画和黄山诗的审美观的变化和黄山作为母题绘画的近代变革与突破。更多还原

【Abstract】 This paper discusses the Mount Huang Paintings from three aspects.It is basedon Image Analyze and some interdiscipline methods and theories such as Sociology、History、Literature and Comparions.In Capter One, the author summerizes the three periods when Mount Huangbecame the theme of the painting.The author classifies the three period into the lateMing and early QIng Dynasty、the Republic of China、the new period of China: inthe middle of the Ming Dynasty period, Buddhist monk PuMen cut the road ofHuang Mount.With the literatus headed by Xiake Xu popularizing it, Huang Mountbecame a famous mount.In the late Ming and early QIng Dynasty period, manypainters from Ming Dynasty lived in seclusion and devoted themselves to thepaintings and calligraphies.Because the businessmen from AnHui are keen onbuying and collecting the landscape paintings which theme is Huang Mount, HuangMount landscape paintings became the most popular theme in the late Ming andearly Qing Dynasty period;The painters who persued individuation in the Republicof China are known because their independent spirit and creative mind cater to socialrevalution and personal liberation inthe20century. The famous painter Tao Shi andthose who lived in Ming Dynasty’s Huang Mount paintings let many painterssketch.Many painters sketched in Huang Mount,and they viewed sketching as aeffective way to break throught the highly stylization of landscape paintings.Thepolicy of art in the new period of China change the value conception、spiritive mind、content and manifestation mode of the traditional landscape paintings.These paintersrespondedthe government’s meddles, and took part in the “sketchingmovement”.They used ink and brush to sketch the real mounts and reviers.HuangMount becamethe important theme which painters used to discover the new estheticsence andto establish the personal art stylization second time.In Capter One, the author expounds the cultural and social meaning of thetransformations of Huang Mount poems and paintings’ aesthetic features andstyles indifferent time backguands.The author made case studies of the artists ofHuangMount poems and paintings form Ming Dynasty and Qing Dynasty to20century. The author mainly studied Huang Mount paintings and used “imageproving the history” and “poems explaining the paintings”to analize and compare thepaintings and poems, and finally ascertained the transformations of Huang Mountpoems and paintings：the Huang Mount Poems(Tang and Song Dynasty)、the HuangMount Poems and Paintings(the late Ming and early QIng Dynasty)and the HuangMount paintings(the Republic of China to the new period of China).In Capter One, the author discusses the art charactristics of Huang Mountpaintings. One of the charactiristics is the diversification and specification of “HuangMount paintings”; the second charactiristic is the nature geographic feature of Huang Mount; the third charactirstic is that the change of cultural sence of worth let thesence of art esthetic sence change.The new esthetic sence which is different with theclassical esthetic sence appeared.In the Republic of China and the new period ofChina, whether the Huang Mount paintings are painted realistically or not, thepainter aimed at presenting their individuation.The charactirstic of the paintings is“bizarrerie”.Althougth some scholars have discussed the studies of Huang Mount poemsand paintings, only few people summerize the network for development、causes andinfluences from Tang and Song Dynasties to the20century in the view of the“transformation of esthetic sence of Huang Mount paintings”.This paper aims atdiscussing the transformation of esthetic sence of Huang Mount paintings and poemsin different cultural values, and the revalution and development of Huang Mountpaintings in the early modern period.更多还原