笔墨蕴精神+丹青绘鬼雄——历代国画钟馗作品解析.pdf

山东理工大学硕士学位论文摘要摘要“生当为人杰,死亦为鬼雄”,此句人尽皆知的诗句道出了多少人毕生的抱负与追求,而在中国传统民俗文化中就有这样一位人物,在他的传说故事里,生前才华横溢因为相貌丑陋备受歧视,身亡之后却变成了真正的“鬼雄”,斩鬼驱邪、引福纳瑞无所不能,人人晓其威名,家家挂其神像,他就是钟馗。根据沈括的记载,唐朝明皇梦中见钟馗显神威,并命画圣吴道子创作出钟馗神像,用以驱邪除祟,钟馗画由此开始了一段持续不辍的旅程。在时代的更替中,绘画史中留下了璀璨丰富的钟馗画,以国画形式的佳作尤其丰富,这些作品数量难以胜数,绘画风格纷繁复杂,人物形象千变万化,论绘画类别,有驱邪除害以迎祥瑞的吉利画,有展现画家抑郁忿懑之情的讽刺画,有与寒林、梅花、松竹等脱俗题材融合的文人画;论人物形象,画中钟馗有的像武将,有的像文人,有的是福星,有的是鬼王;论表现形式,有精勾细描的工笔画, 有水墨淋漓的大写意,有兼工代写的小写意,还有线条道劲的白描。虽然钟馗画在创立之初是为了驱邪纳福,但随着时代的发展和人们审美趣味的转变,加之在扩展中又寄予了文人丰富的内心情感,拥有了其他题材所不能表现的深度和寓意,其艺术形象利于体现“写其形必传其神,传其神必写其心"的绘画意境,这在一定程度上反映了中华民族审美理想和愿望的转变,它起源于宫廷,流传于民间,受到各个阶层人们的喜爱,文野交融,雅俗共赏。钟馗画之所以能够保持代代都能呈现出绘画佳作,并不仅仅依靠其驱鬼避邪的功用,更多的是因为在漫长的岁月变迁中,民间百姓及历代文人赋予了钟馗百变的身份、万能的神力和越来越丰富的思想内涵,使其具有了鲜明的个性和浓厚的人情味。钟馗传说和钟馗绘画都经历了时间的洗礼、朝代的更替、文化的融合,同时造就了中国传统民俗和绘画艺术的一段佳话。关键词:钟馗画;国画;主题;形式;寓意山东理工大学硕士学位论文 Abstract Abstract No matterpeople live or willbeimmortal spirit and faitllin our Chinese traditional folkculture there issuch aperson who was ugly butbrilliant inhis legend story calledZhong in ancienttimesalwayshang hisimage inthedoor toexpel the evilandpray forblessing,Zhong Kuithenturned into areal”hero”.According totherecord ofShen Kuo,emperor ofTang Nasty dreamed ofZhong Kui heroism mand thepainter Wu Daozi created apicture ofZhong Kui forblessing and ward off evil,thepainting ofZhong Kuibegan asustained thelong riverof history,a greatquantity ofsplendid andglorious paintings ofZhong Kui was thepainting’Sstyle,we can see many artwork ofvent, thepoint view ofthecharacterimage,Zhong Kui acted avariety ofroleslikeknight,literati andhero in the thepattern ofmanifestation,there are claborate—style painting, traditional Chinese realisticpainting,freehand inkpainting,small freehand brushwork in traditional Chinese painting and linedrawing intraditional ink and brush prayed forhappiness when thepainting ofZhong Kui was initiallycreated,but withthe development ofthetimesand the convent ofpeople’S aesthe