文档介绍：河北师范大学
硕士学位论文
中国山水画中“树”的表现形式探索
姓名:庞振红
申请学位级别:硕士
专业:美术学
指导教师:白云乡
20100406
摘要
本文在充分肯定“树”在中国山水画中的作用的基础上,总结了“树”表现形式的
历史发展,即经过了魏晋时期的刷脉镂叶、隋唐时期的刻画之法、五代两宋的道法自然
以及元明清的笔墨情趣四个阶段之后,发展到了近现代山水画中符号化、图式化的“树”。
文中通过对比传统山水画与近现代山水画中树的异同,发现二者之间有一脉相承的共同
之处,二者都以情理结合为基础,创作者也都注重实践和写生,并从实践中寻求创作的
源泉。同时,作者也注意到二者之间还有相异之处,即传统山水画家更强调树木表现形
式的真实性,近现代山水画家更关注树木满足当代人的情感与审美需求,这就使得近现
代山水画中“树”的表现形式呈现出个性化的倾向。
文中最后总结了山水画创作中的用“树”之妙,具体表现在四个方面:第一,要注
重中国传统山水画中树木的表现形式,讲求真实性并遵从树木的本来面貌;第二,要情
理交融,寄情于景,使得树木具有主体的情感特征以满足绘画者的情感需求;第三,要
关注中国传统文化,一方面创作者要更多地了解中国传统文化,另一方面要继承中国传
统文化中天人合一的思想,赋予中国山水画中树木传统的元素,不断追寻艺术创作的真
谛;第四,要注重笔墨的运用,笔墨运用技巧与山水画创作成败有着最直接的联系,关
注笔墨运用的创新性与多样性,从而实现笔墨语言与情感语言的交汇。

关键词:树山水画表现形式符号化
III
Abstract
The thesis summarizes the historical development of the trees’ expression on the basis of
the fully recognition of the trees’ importance in Chinese landscape painting .The trees’
expression experienced the Wei and Jin dynasties, Sui and Tang dynasties, Five dynasties and
Song dynasties and Yuan Ming and Qing dynasties. After this it developed into modern times
when painters have been emphasising the symbolization of the trees. Comparing to the
tradition and the modern Chinese landscape painting, we can find the difference and the same
contents. The similar place is that both the traditional and the modern painters of the Chinese
landscape painting emphasize practice as the original source of the creation on the basis of the
combination of the rationality and the emotion. On the other hand the author always notes that
difference still exists. The traditional painters were willing to pay more attention on the
objective state of the trees while the modern painters tend to focus that the trees’ function of
satisfying the person’s emotional and aesthetic requirements . For that reason the trees’
expression has been tended to be personalized in modern Chinese landscape painting.
In order to make the trees’ expression much more better, we need to make