【作者】 韩雪岩；

【导师】 刘巨德；

【作者基本信息】 清华大学 ， 美术学， 2008， 博士

【摘要】 论文研究目的在于,以吴门画派的山水画创作和画理探讨为研究单元,梳理山水造境与个人心态史的内在关联,阐释视觉图像参与区域文化建构的方式,剖析接受情境对意涵延宕和风格演进的影响,呈现明中后期苏州及其邻近区域书画世界的独特风貌,进而明晰特定时空中“仿”的所指、属性、特征、功用及意义。论文从术语意涵、生成语境、图像功用、接受情境等几个层面探讨了吴门画派山水画之“仿”。可以看出,吴门画派山水画之“仿”不仅包含着对传统风格的师法,同时还强调画家自身性灵的抒发和风格创新。这种意涵同吴门画派的超越诉求及雅俗意识密切相关。吴门画派在山水造境过程中,通过构图延宕、笔墨互参、母题借用等艺术手法,使图式附载了纵横交错的隐喻观念,山水画之“仿”由此呈现出强烈的知性特征。接受系统对山水图式的生成有着重要影响,也使“仿”的意义在历时性的传播中被丰富、延伸乃至重新创造。论文揭示:就术语意涵层面而言,“仿”是一种喻指;就生成语境而言,“仿”同明中后期苏州文人的际遇、身份、选择关联深刻;就图像功用而言,山水画之“仿”不仅是艺术作品,同时也是文化物品和象征物品,具有比拟的属性和符号的效用;就画史意义而言,吴门画派山水画之“仿”直接推动了明末清初的艺术谱系建构和风格本体化进程。论文从山水画之“仿”背后隐含的特定群体与社会历史情境之间的互动关系视角切入,剖析了视觉图像所附载的纵横较错的隐喻观念,及其赖以萌发、建构、展现、认同的基础。这样的研究方法必然涉及社会史、文化史、思想史等诸多领域,因此,吴门画派山水画之“仿”的阐释与解读,实质上是汲取其他学科有益成果基础上的一种综合探讨。更多还原

【Abstract】 Based on the research into the creation of the paint of landscape and the probe of the theory of the paint of WuMen faction, the subject of the essay is to coordinate the inner relationship between the formation of landscape and the individualism and to analyze the method of the visual image’s participation in the formation of regional culture. In addition, it also analyzes the effects of acceptance concept on the development of significance and style and presents the specific view of the paint in the districts of SuZhou in the second half of the Ming dynasty. And through the subjects above, the essay definitely analyzes the significance, attribute, characteristic, and the function of imitation in the specific space time.The essay probes into the imitation in the paint of landscape of WuMen faction from the aspects of the connotation, concept of formation, the function of the view and the acceptance concept. From the research we can find that the imitation of the paint of landscape of WuMen faction contains not only the imitation of the traditional style but also the expression of the painter and the creation of his style. Through the using of the development of forming the paint, the reference of the drawing methods, and the borrowing of the former subject, the WuMen faction makes the painting become the approach and the medium of conveying the concept of exceeding pursuing and the concept of differing nobility and philistine. And from this, the imitation of the paint of landscape expressed a strong character of knowledge. The acceptance system has a great effect on the formation of the image of the landscape, and it also makes the imitation enriched, developed and even recreated in its historical spread.From the point of connotation, the imitation has an obvious tint of metaphor; and to the concept of formation, the deep relationship between imitation and the situation, identity and the choices of the knights of the pen literature in the Ming dynasty; as for the function of the image, the imitation of the paint of landscape is not only the imitation of the art, but also the things with cultural and symbolic characteristic; from the angle of the meaning for the painting history, it enhanced the formation the artistic system in the end of the Ming dynasty and the beginning of the Qing dynasty and the development of the style.The essay analyzes the complex metaphor in the imitation of the paint of landscape. In addition, it also analyzes the base and concept of the root, expression and the acknowledgement from the angle of the relationship between the specific crowd and the social history. This kind of research is certain to be involved in many fields such as social history, cultural history, and theoretical history and so on. So the analysis the imitation of the paint of landscape of WuMen faction is a compound analysis absorbing the advantages of other subjects.更多还原