从李郭画派论绘画风格与元代文化环境的互动

发布时间：2018-01-24 21:52

本文关键词： 李郭画派政治意识文化氛围雅集　出处：《浙江大学》2016年博士论文　论文类型：学位论文

【摘要】：元朝是较为特殊的一个朝代,它虽然不是中国历史上唯一的非汉族王朝,但较诸契丹人的辽朝、女真人的金朝及满族人的清朝而言,其对中国原有的汉文化传统较不热衷,帝国内因多民族的并存,文化上的多元性尤其明显。受此影响最大的应当是传统的士阶层,一方面,他们感受到了被边缘化的危机,绘画艺术本身也因此而被迫发展出了"维系文化传统"这一存在意义,因而在风格上产生"复古"、"书法入画"等对传统典范进行新诠释、新整理的途径,这大概就是后人论元代画史引为"文人画"转向之所在。另一方面,更容易被画史忽略的一点是,对于当时关心绘画艺术的文人而言,去思考这种艺术如何在其仕途受挫之际容其安身立命的问题,或许要比从事某种绘画改革试验来得更加重要。李郭画风在元初因其明显的政治意识而受到元朝统治者及北方的蒙古、色目人士欢迎。南方士人则因改朝换代及科举的中断而前途断绝,科举恢复后,南方士人面临的竞争也异常激烈,在仕途受阻的情况下,以其画艺得到北籍权宦的举荐出仕是一个较为可行的办法。李郭画风也因此得到士人青睐,在元代初、中期获得巨大发展。这种北籍权臣与南籍文士间的举荐模式在元末被迅速恶化的政局所中断,北籍官员忙于应付朝政及南方动乱,无力亦无心再参与南方的文化事务,在元代早期由政治影响力主导的文化氛围也急遽变化,加上江南特殊的经济条件,南方不少大户在乱世中也能保持生活情感的交流与文艺本身价值的追求。在这种氛围之中,李郭山水失去了主要的受众,原来以之作为手段而追求的政治目标也变得无意义,因此也失去了文人的喜爱。而来自董巨风格的黄公望、吴镇、倪瓒等人的隐居山水则正好配合那种江南雅集所引导的氛围,代之成为元末南方山水画的主流。
[Abstract]:Yuan Dynasty is a more special dynasty, although it is not the only non-Han dynasty in Chinese history, but compared with Liao Dynasty of Qidan people, Jin Dynasty of female people and Qing Dynasty of Manchu people. It is not keen on the original Chinese cultural tradition, because of the coexistence of multiple nationalities in the empire, cultural diversity is particularly obvious. The most affected by this should be the traditional taxi class, on the one hand. They felt the crisis of being marginalized, and the painting art itself was forced to develop the existential meaning of "maintaining cultural tradition", which resulted in "reverting to the ancient times" in style. "calligraphy into painting" and other traditional models for a new interpretation, a new way, this is probably the history of painting in the Yuan Dynasty as the "literati painting" turn. On the other hand, it is easier to be ignored by the history of painting. For the literati who were concerned about painting art at that time, to think about how this art in their official career frustration when the problem of allowing him to settle down. Perhaps more important than some kind of painting reform experiment. In the early Yuan Dynasty, Li Guo's painting style was ruled by the rulers of the Yuan Dynasty and by Mongolia in the north for its obvious political consciousness. The southern scholars were cut off because of the change of dynasty and the interruption of the imperial examination. After the imperial examination resumed, the competition of the southern scholars was also extremely fierce, and the official career was blocked. It is a more feasible way to recommend the official of the Northern official with his art of painting. Therefore, Li Guo's painting style also got the favor of the scholars in the early Yuan Dynasty. In the middle period, great development was achieved. This mode of recommendation between the Northern officials and the Southern Scholars was interrupted by the rapidly deteriorating political situation in the late Yuan Dynasty, and the northern officials were busy dealing with the Korean government and the southern turmoil. Unable and unwilling to participate in the cultural affairs of the South, the cultural atmosphere dominated by political influence in the early Yuan Dynasty also changed dramatically, coupled with the special economic conditions in the south of the Yangtze River. In this kind of atmosphere, Li Guoshanshui lost the main audience in this kind of atmosphere, many large households in the south can also maintain the exchange of life emotion and the pursuit of the value of literature and art in the turbulent times. The political goal which was originally pursued as a means also became meaningless and thus lost the love of the literati. And Huang Gongwang from Dong Ju style Wu Zhen. The seclusion of Ni Zan and others was in keeping with the atmosphere guided by Jiangnan elegant collection and became the mainstream of southern landscape painting in the late Yuan Dynasty.
【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：K247;J212

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