【作者】 刘玉龙；

【导师】 牛克诚；

【作者基本信息】 中国艺术研究院 ， 美术学， 2014， 博士

【摘要】 就目前的美术史研究状况来看,我们有必要尽可能的淡化主观的价值判断,在分析、研究前人的判断和论述时需尽可能的客观,并对人们熟悉的材料重新审视。晋唐时期的山水画由“渐变所附”到形成独立的一科,在绘画理论和图像描绘上都有很大的成就,但因画迹毁散,史料对其风格样式记载不详等原因,阻碍了对晋唐山水画的深入研究和认识。本文的研究对象以晋唐山水画及其相关史料为中心,在此基础上,涉及五代、宋、元、明、清等各代的画史、画论、画品及其他文献中对晋唐山水画的相关论述和见解,以及后世模仿和托名晋唐山水画的图像等。本文对东晋到唐代的山水画理论著述和图像进行考辨、分析、阐释,纠正后世理论家的曲解和过度阐释的误区,溯源寻流,探析晋唐山水画的风格样式和语汇形式,尽可能突破目前对晋唐山水画的研究状况,以晋唐山水画的风格样式为经,以五代、宋、元、明、清对晋唐山水画的认识为纬,逐一剖析历代对晋唐山水画历史的构建和重塑,探寻其认识的主流思想和依据,并发掘其支流思想的来源。以此为主要参照,对比宋元明清文献记载和图像模仿之间的异同,辨析历代对晋唐山水画的原有风格样式的承袭、改造及移易,分析历代认识晋唐山水画的观念演变历程。通过辨析与晋唐山水画相关的文献和图像,力图重新构建晋唐山水画的原型模式,继而探讨其风格样式和语汇特征,以及后世重塑与其原有风格样式之间的逻辑关系。历史是建构的过程,而在本质层面上是话语权的问题,不同时代因随话语权的转变而使历史的记载发生转变。晋唐山水画在被后世认识的过程中,也是如此。不同时代不同的理论家和画家都会重塑历史原型,但后来的重塑既是基于前人认识基础上的重塑,同时,又是有直接的不同于前人的重塑,认识的不断演变和发展,反复的重塑与渐变的再重塑之间的复杂演进,构筑了后世对前人复杂、多变的反复重塑的认识的历史。这种认识的历史不同于前人认识的历史,而是后人对前人历史认识的历史。同时,后世的想象本身又构成一种历史,这种历史,不是晋唐山水画本身的历史,而是后人对晋唐山水画认识的历史。对晋唐山水画风格样式及后世重塑的研究,实际上是着眼于后世对其认识发展、演变的研究。基于这种视角的思考和分析,是在研究晋唐山水画的风格、样式、语汇等演变的基本态势和规律之后,与晋唐山水画本来的风格样式对比,探求其发展的历史轨迹和观念的演进历程,而并非将所有绘画风格样式和语汇的生成截然分开而视其为重塑。更多还原

【Abstract】 From the status of the study of art history at present, we should as soon as possible dilute the subjective value judgment and analysis and study the previous exposition as objective as possible, and review the materials that we are familiar with. Landscape paintings in Jin and Tang Dynasty from the "gradient attached" to forming an independent branch have made great achievements in the theory of painting and image, but because the mark is destroyed and the style of historical records are unknown recorded, the study and research of Jin and Tang Dynasty landscape paintings is hindered. Of course, this paper not only studies the landscape paintings and the related historical materials of Jin and Tang Dynasty, but also includes the related historical data, which contains five generations:Song, Yuan, Ming, Qing Dynasties painting history, painting theories, paintings and other related literature which tells and analyses about the landscape painting of Jin and Tang Dynasty, making the later copy and imitate the Jin Tang landscape painting images etc.This paper makes a textual research, analyze and interpretation about the landscape painting theories and images those are from the Eastern Jin to the late Tang period and corrects theatrical constructions of the later theorists, seeking the origin, searching for the landscape painting style and language form in the Jin and Tang Dynasties. Meanwhile, I regard landscape painting style of Jin and Tang Dynasty as Longitude, making the understanding of which consists of Song, Yuan, Ming, and Qing Dynasties for weft. Then one by one I analyses the construction and remodeling of the landscape painting history in every dynasty to seek for the mainstream ideology and the basis and explore the source of branch of thought. According to these as the main reference, I compare the differences and similarities among Song, Yuan, Ming and Qing Dynasties documentary records and images analysis of primary form inherited, renovation and transformation. I try to analyze evolution course of the thought of the people thinking about Jin and Tang landscape paintings. Through the discrimination of the literature and image which is related to Jin and Tang landscape paintings I try to construct a Archetype model of Jin and Tang Dynasty landscape painting then to discusses the style and language features, as well as the logic relation between later remodeling and its original style.The research on landscape painting style and remodeling of Jin and Tang Dynasty is actually paying attention to the posterity to make a research and development for the landscape painting style of Jin and Tang Dynasty. This view of thinking and analysis is based on the evolution of the painting style and language forming, comparing with the painting style of Jin and Tang Dynasty to seek the historical development of it and evolution course of the conception. It is not separated painting style and language forming but regarded them as reconstruction.History is the process of construction. The right of discourse will last, and the history in different times will change with the changing discourse power, so are the landscape paintings of Jin and Tang Dynasty in the later of cognition. Different theorists and artists reshape historical Archetype in each time, but a remodeling is based on the previous understanding remodeling, which is contained direct remodeling. The evolution and development, which is repeated remodeling and gradual and complex evolution reshape,build up a complex, changeable repeated reshaping history. This understanding of history is not the predecessors’ history but the history of the descendants understanding the previous. Meanwhile, the lasers’ imagination form a history which is not the history of Tang Dynasty landscape paintings themselves but the history of laters’ reorganizations of Tang Dynasty landscape paintings.更多还原