摘 要

文人画的发展盛世是在中国的元朝，元代时期汉人被异族统治是促进文人绘画的发展重要因素，由于被异族统治，仕途坎坷，汉族人郁郁不得志，于是遁入山林，作画吟诗，隐居避世，也是在这样的环境下，文人更接近与自然，使得文人画在这个时代逐步走向成熟。在元代早期，由赵孟頫首开文人画的风气，赵孟頫厌倦院体画的重墨写实，提倡淡墨写意，重气韵。赵孟頫追求的“古意”为文人画奠定了“雅”的基础，主张作画不求“形似”，要“于物传神”。而他的另一特色就是有机的将诗，书，画，印结合在一起，做到诗中有画，画中有诗，使得他的作品更能表达出他文采，深化他的主题，也可以弥补出他画面中的不足，具有更深层的内蕴。

继赵孟頫之后，画坛经过短暂的真空期后进入了过度时期，也是全面的复古时期。元代中期，在文人画的标志性元季四家还未成熟时，文人画也依旧昌盛，在江苏一代，人才济济，归隐之气蔚然，在充沛的物质支持下，如倪云林，顾忠都是资雄一方，他们拿出钱财结交各地才子聚集，交流艺术，游山林，绘美景，使得元代中期文人中心偏移到江苏一带，正初年，昆山顾忠瑛构筑玉山草堂，杨维桢，张雨等都聚集此地，至正八年至至正十四年被称为玉山草堂的鼎盛时期。

至正二十五年后，文人聚会带动当地的多元化的文化发展，因此，文人画因此走向深入和广泛。元代中晚期以元季四大家（ 黄公望、吴镇、倪瓒、王蒙）风格为主，虽然他们在画风上各有其特点，但都是在早期文人画的基础上发展而来，重笔墨，尚意趣，而这些成为了当代山水文人画的主流，也对明清两代以及现代艺术影响很大。

关键词：元代文人画；钱选；赵孟頫；元四家；道家思想

Abstract

Development of literati painting is flourishing in China's Yuan Dynasty, Yuan Han period was the development of foreign domination is an important factor in promoting the literati paintings, since the foreign domination, career ups and downs, the Han people frustrated, then fled to the mountains, poetry and painting, seclusion Masquerade, also in such an environment, the literati closer to nature, making paintings in this era gradually matured. In the early Yuan Dynasty, Chao, the first of the literati painting trend, Chao, tired of the heavy ink painting academy realism, freehand promote light ink, heavy texture. Chao, the pursuit of "old-fashioned" as the foundation literati painting "elegant", advocates painting not "shape" should "in the matter vivid." His other feature is the organic poetry, calligraphy, painting, seal together, do poem paintings, painting in poetry, making his work better express his literary talent and deepen his subject, but also can make up for his lack of screen, it has a deeper connotation.

After Zhao Mengtiao, after a brief period of vacuum painting after entering the transition period, but also the full retro period. In the middle of Yuan Dynasty, in the sign of literati painting of Quaternary Sijia still immature, literati painting also is still prosperous, the in Jiangsu generation, talents, Hermitage gas Weiran, in support of abundant material, such as Ni Yunlin, Gu Zhong is capital male side, they come up with the money to make friends all over to the sub aggregates, art exchange, tour the wooded mountain, painted views, making Yuan dynasty literati in the middle of a center that is offset to the Jiangsu area, positive early, Kunshan Gu Zhongying built Yushan Caotang, Yang Weizhen Zhang yu.my are gathered here, to the eight years to Zhizheng fourteen years is called Yushan Caotang peak period.

Zhizheng 25 years later, the literati party driven diversified local cultural development. Therefore, the literati painting toward the deeply and widely. In the middle and late period of the Yuan Dynasty to Yuan season four people (Huang Gongwang, Wuzhen, Ni Zan, Wang Meng) style, although they are in the style of each has its own characteristics, but they are developed on the basis of early literati painting in the, heavy ink, there is interest, and these become the mainstream of contemporary landscape paintings, and also a great influence on the Ming and Qing Dynasties and modern art.

Key words:The yuan dynasty literati paintings; Qian Xuan；Zhao mengfu; Yuan four; Taoist thought

目 录

摘 要 II

关键词 II

Abstract III

Key words III

第一章 绪论 1

（一）研究背景 1

（三）研究内容和目的 1

（四）研究方法 2

第二章 文人画滥觞追寻 3

（一） 文人画 3

（二） 元代文人画 3

（三） 文人画的起源 3

第三章 元代文人画发展之时代背景分析 5

（一） 道家思想对文人画的影响 5

（二）禅学思想对文人画的影响 6

第四章 元代文人画理论成就考察 7

（一）顾恺之的绘画理论 7

（二） 钱选“士气说” 7

（三）赵孟頫的绘画理论 7

（四）倪瓒“逸气说” 9

（五）黄公望“公望四说” 9

第五章 元代文人画创作实践考察——以赵孟頫、元四家为例 11

（一）绘画中的书法用笔 11

（二）注重神似、不求形似 12

第六章 元代文人画对后世文人画的影响 14

总结 15

参考文献 16

致谢 17

第一章 绪论

（一）研究背景

在中国绘画史上，文人画有着辉煌灿烂的一页，留下了许多古老的宝藏，一直是我们研究和学习中国绘画的典范。文人画是画中带有文人的性质，画中有作者自身融入的趣味以及绘画时的心态，在研究作品时我们不必去研究什么高雅的艺术美感，但是我们必须在画外音中看到许多文人情怀。

文人画的发展盛世是在中国的元朝，元代时期汉人被异族统治是促进文人绘画的发展重要因素，由于被异族统治，仕途坎坷，汉族人郁郁不得志，于是遁入山林，作画吟诗，隐居避世，也是在这样的环境下，文人更接近与自然，使得文人画在这个时代逐步走向成熟。在元代早期，由赵孟頫首开文人画的风气，赵孟頫厌倦院体画的重墨写实，提倡淡墨写意，重气韵。赵孟頫追求的“古意”为文人画奠定了“雅”的基础，主张作画不求“形似”，要“于物传神”。而他的另一特色就是有机的将诗，书，画，印结合在一起，做到诗中有画，画中有诗，使得他的作品更能表达出他文采，深化他的主题，也可以弥补出他画面中的不足，具有更深层的内蕴。