【作者】 刘中玉；

【导师】 金维诺；

【作者基本信息】 中央美术学院 ， 美术学， 2010， 博士

【摘要】 本文共九个部分,包括引言、正文(七章)、结语。引言。在此主要说明选题意义,介绍研究思路、考察要点、行文主旨等。第一章科举废,文艺出——元初士人对文艺的反思和救弊。本章先论述元初士人反思宋金士气赢弱、文风凋敝的具体情状,接着对普遍习艺之风下士人致力于艺的态度进行分析。第二章士气恢张下法晋宗唐的文艺思想。本章从分析元廷宽平施政的理念入手,对元初遗民的结社之风和文艺上宗晋法唐的思想进行钩考,认为他们为文艺厘定新标准的目的在于推动具有自决意识和砥砺意识的新士风的形成。第三章扶世立教的画学思想——以刘因为例。本章先从考察刘因对士人习艺的态度及其与宋金思想的渊源入手,继而针对其在南北文化尚未混通的背景下关涉画品与人品问题、形神问题的论议加以阐释。最后得出,刘因提倡致力于艺的目的在于用以学济世的理念来更迁士人风气。第四章文人画由业余向当行的转变——从赵孟頫起。本章首先对当时士人在文艺上普遍以当行自居的情实进行钩索,然后以赵孟頫为例,对其旨在推进书画之学发展的实践详加论析。第五章元中后期士风的低位徘徊。本章选取“以吏代士”和“征役蔓及学者”这两个颇能反映当时政治、经济、文化特征的现象作为切入点,对元中后期政局日坏背景下,士气转而消沉、文艺益颓靡的状况加以探察。第六章士风顿挫下文艺思想的转捩。本章在考察元末结社之风的基础上,对泰定、天历以后士风、文风转而下行的状况,以及元末士阶层为扭转这一局面从厘定法度与提倡性情的角度进行革新的做法进行论析。第七章乱世中根柢儒家、参解人生的画学思想——以四家为例。本章对以四家为代表的文人画家在乱世中以一种近乎世外的姿态思考如何力祛附时取荣之习、弘发性情之正的事实进行阐释,认为他们在绘画上所标榜的纵逸倾向,正是其一贯坚持的含文抱质思想的体现。结语。最后本文在对宋元文人画发展历程回顾的基础上提出,元代文人画之所以在内涵和形式上都明显张起重塑士人风骨的旗帜,除了文艺发展的一般性外,还与当时的政治社会背景、文人心态直接相关。更多还原

【Abstract】 There are nine parts in the text of this dissertation:preface,main part(include seven chapters),conclusion.In the preface,I mainly introduce why I select the subject on the literati’s mental state and the painting ideas.I think it is an entrance to study the achievements of Yuan dynasty’s literati-painting. In the first chapter,I focused on the scolars’self-examination and innovation on the literature and arts. I realize that the whole of the intelligentsia all turned themselves to the literature and arts during the beginning of the new era. The second chapter focused on the idea of "Fa Jin Zong Tang" of the literature and arts.In a moderate political environment,the survivors always tried to change the state of the floundering literature and arts,and to established an active climate.Chapter 3 focused on the study of Liu Yin’s attitude about painting.Liu is a very famous Confucian scolar in Yuan dynasty,but he was not an bigot.He maintained that if the (?) transformation process of the literati-painting from amateur to professional in Chapter 4.Here,I focused on Zhao Mengfu,Who was one of biggest masters of Yuan dynasty. Chapter 5 focused on why the scolars turned to depression at the last time of Yuan.I chose "Yi Li Dai Shi"and "Zheng Yi Man Ji Xue Zhe",which reflected the political, economic and cultural characteristics of the phenomenon.I analyze the transformation of the literature and arts when the scolars burned their fingers in Chapter 6. Since the period of "Tai Ding" and "Tian Li",the main trend of the literature and arts state were declining,then some responsible scolars maintained they should pay attention to their disposition and respect ancient rules.Chapter 7 focused on the four masters of Yuan.They all lived in the upheaval period,but they still insisted on confucian, and expressed a simple but elegant style in their Paintings.Conclusion. finally, I reviewed the development process of literati-painting during the Song and Yuan dynasty,and I think,expect the common characteristics of the arts,literati-painting was connected with the political-social background and literati emotion.更多还原