【作者】 夏冰；

【导师】 傅合远；

【作者基本信息】 山东大学 ， 文艺学， 2009， 硕士

【摘要】 形神问题是中国绘画理论中的核心问题,贯穿于中国绘画理论的始终。纵观中国绘画美学形神论的发展历程、特征以及审美观念的发展趋势,形神关系大体可以分成重形似—形神兼备—重神似三个阶段。先秦两汉时期绘画美学形神观的主要特征为重形似,绘画的功能是象物察形以达到使人们能够区分善恶,“成教化,助人伦”的作用。在重形似的观念下,汉代还产生了“君形者”的思想,对对象之神的观念有了一定的认识。魏晋南北朝唐五代的绘画美学形神观的主要特征是形神兼备。魏晋南北朝时期在玄学的形神之辩、言意之辩和人伦鉴赏中重视人之“神”等思想的影响下,形成了绘画美学中以形写神的新的形神观。魏晋南北朝审美领域的一个大发现是发现了自然山水的美,自然山水成为审美对象,山水画兴起,绘画美学的形神观也就由人物画发展到了山水画。唐代时,中国文化艺术取得空前发展,以中唐为界,主体精神有一个由张扬外放到内敛颓放的渐变,美学思潮上,壮美理想发展到极至而向优美理想嬗变。在唐代审美理想中,无论是在表现昂扬向上、奋发有为、蓬勃朝气的壮美理想还是表现柔婉、纤细的内心感受的优美理想中,主体之意之情都得到了一定程度上的表达。这反映在绘画美学中也就出现了“以气韵求其画,则形似在其间”的形神观。宋元明清的绘画美学形神观的主要特征是重神似。文人画的审美理想成为整个时期的主导,文人士大夫强调绘画是平淡自然、高雅脱俗的个人情感、意趣的表现,他们不再斤斤于形似的精谨细致的刻画,而是草草几笔中见出真情。绘画作品中梅兰竹菊、山川树石都成为士大夫人格、情感、心绪的象征和物化,它们不再是纯然客观的,而浸染了主体之情,成为传达主体情感的媒介。宋代绘画不再将目光停留在物象的形似与否,不再计较对物象之形的精准刻画而重神似,强调对内心情感的抒发,故文人们论画多用意、理、逸,重视传达主体内心的情感意趣。因此,画家自身的修养逐渐受到重视,一是重视画家的人品的修养,要求有淡泊物欲、超尘脱俗的清逸之心。一是要重视画家的文才学问修养。在心学和浪漫主义的影响下,明清时期的绘画所表现的创作主体的情感已不再是文人士大夫萧散淡泊、清高格逸的高雅脱俗之情,而成为狂狷之士个性自我、狂怪奔放之情。与这种狂态情感的传达相适宜,绘画更是不拘形似,往往墨色淋漓、丑怪夸张变形,要在似与不似之间寻找情感表达的可能,创作出不似之似的绘画作品。更多还原

【Abstract】 The xingshen-problem is the core issues of Chinese painting theory,and throughout the Chinese painting theory.Throughout the development and features of Chinese Painting xingshen theory,and the development trends of aesthetic ideas,the relations of xingshen can be divided into three stages:re-shape-emphasis on the spirit and shape-emphasis on the spirit.The main features of Qin and Han Dynasties aesthetic spirit of the painting conception is re-shape.The function of art is shaped like objects in order to enable people to distinguish between good and evil.In the concept of re-shape,it have had the thinking of "jun-xing"in Han Dynasties,and have had a certain degree of understanding of the spirit.The main features of Wei and Jin Tang and Five Dynasties aesthetic spirit of the painting conception is emphasis on the spirit and shape.Under the influence of ideological,aesthetic paintings created a written form of spirit in the spirit of the new concept.The field of aesthetic found to be a big discovery of the natural beauty.A natural landscape as aesthetic object,landscape painting rise.The xingshen theory of chinese painting develops from figure to landscape painting.In Tang Dynasty,and unprecedented access to Chinese culture and arts development,the main spirit of a publicity release bockii reserved on the outside of the gradient.In the ideas on aesthetics,sublime ideals and the development of the extreme to the evolution of the aesthetic ideal.in the aesthetic ideal of Tang Dynasty,Whether in the performance of high-spirited and progressive and promising,the magnificent vitality enough performance,delicate feelings of the aesthetic ideal.The main meaning of the situation have been the expression of a certain extent.This is reflected in the aesthetics of painting also appeared in "to the spirit of seeking the painting,while the shape in which" spirit of the concept. The main feature of of Song,Yuan,Ming and Qing Dynasties aesthetic spirit of the painting conception is similarity in spirit.Aesthetic ideal of the scholar painting became the dominant throughout the period.Those scholars stress that painting is the performance of personal emotion and charm that natural,refined and elegant.They are no longer in the shape of the sperm detailed portrait of the honor,but see the true feeling in a few hasty.Plum,orchid,bamboo and chrysanthemum as well as mountains,rivers, trees and stones in their paintings have become symbol of their personality,mind and emotion.They are no longer purely objective,but become the main medium to convey that dip of the main feelings and emotions of the painter.Song Dynasty’s painting no longer look at the shape of the object or not,no longer care about the shape of the object and the re-characterization of the precise spirit likeness,but place emphasis on the expression of inner feelings,so people talk about the painting more usually use the word "meaning" and truth,Yat.What’s more,they attach weight to convey their inner emotion and feeling.Therefore,the artist’s cultivation is high valued radually.On one hand,they pay attention to the cultivation of the artist’s character that indifferent to material requirements and have a refined heart.On the other hand,they pay attention to the artist’s self-cultivation and knowledge.Under the influence of romanticism and Mind, the Ming and Qing Dynasties painting created by the performance of the main feelings is no longer indifferent to the literati,refined elegance of the situation,and to become self-ecstasy people with personality,crazy strange feelings flowing.With this kind of crazy emotional state appropriate to convey,painting is like an informal often with dripping color and exaggerated deformation between similar and not to find the possibility of emotional expression and create did not seem like the paintings.更多还原