王履山水画图式研究  

Research on Wang Lyu’s Landscape Painting Schema

作　　者：胡劲峰[1] Hu Jinfeng

机构地区：[1]安徽工程大学设计学院,安徽芜湖241000

出　　处：《南京艺术学院学报（美术与设计）》2023年第1期1-6,I0002,共7页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社科基金艺术学西部项目《中国传统书画鉴藏心理机制研究:以马远绘画鉴藏为例》(20EF206)阶段性研究成果;安徽工程大学校级科研项目《中国叙事性绘画的图像语言研究》(Xjky2022180)阶段性成果。

摘　　要：王履山水画风深受马远、夏珪影响,但在图式上并未囿于马、夏边角之景,亦未追随明初山水画流行图式,而是就马、夏典型图式进行解构和重组,以拼合、交叠的形式聚集至画面中心,成闭合状,并从中心向边缘渐次虚化,形成独特的“中心聚焦式”构图。不过,该图式在本质上还属于“写生稿”或创作实验阶段,而非成熟风格的标志。The overall style of Wang Lyu’s landscape painting was influenced byMa Yuan andXia Gui,but the composition of his paintings was not limited to the "one-corner composition" model of Ma Yuan’s and Xia Gui’ s.He also didn’t follow the usual composition pattern of landscape paintings in the early Ming Dynasty,but deconstructed and reorganized the typical patterns of Ma’s and Xia’s,and gathered them to the center of the painting in the way of splicing and overlapping,forming a closed structure,and blurred graduallyfrom the centertoward the edges to form a unique "center-focused" composition.However,this schema was still essentially a "sketching from life" or ex perimental stage of painting,rather than a sign of a matu re style.

关 键 词：王履 山水图式 “边角之景”“中心聚焦式” 

分 类 号：J218.6[艺术—美术]