摘要：唐以后，五代、北宋时期的山水画，画面依靠单纯有力的线条，有序排列，层层深 入；转到南宋，皴笔由繁变简，通过“一角山水”来表现更为深远的意境；元代伊始，文 人山水画成为主流。赵孟頫提出“书画同源”，强调书写性线条的趣味性；线条的抑扬顿 挫，墨色的干湿浓淡，充分表现笔墨的结构美和形式美,笔墨本身传出画家的情感心境， 元代画家大多以“简笔求繁”皴法为创作导向。元代在绘画上追求内在的精神，强调自娱 为目的，画风追求恬淡萧逸，与文人躲避政治、隐逸山林的心境相一致。山水画经过元代 的发展，当笔墨技巧相当成熟时，笔墨以外的束缚得到解脱，从而逐渐独立出来。从笔墨 笔法演进来说，皴法发展完成了由技法到语言的升华，更加融入了人文精神。73116

毕业论文关键词：元代，山水画，皴法发展，披麻皴，传承

Abstract：The Five Dynasties and Northern Song Dynasty landscape painting on orderly, simple and intensity of the arrangement of the lines, layers of depth, pen is "a thousand pens pens, pen Jane", go to the Southern Song Dynasty, pen cracked from complexity to simplicity, through a corner of the landscape to show more profound artistic conception; to the Yuan Dynasty, the landscape painting become the mainstream。 "Simple strokes and complicated" as the main principle,  this  period of "cracked"  in  development, Zhao Mengfu  proposed  "calligraphy    and

painting homology", emphasizing the writing of lines of interest; lines of the cadence, the ink dry bias, the full performance of the beauty of the ink of the structure and form; pen came artist's emotional state of mind。 Cunfa become a language, to complete by the sublimation of language skills。 The pursuit of the spiritual freedom in the literati painting, emphasizing the entertainment for the purpose of。 The style of the pursuit of tranquil literati and avoid political, Xiaoyi, consistent hermit mood。Landscape painting after the development of the Yuan Dynasty,when the pen and ink skills are quite mature,the shackles of the pen and ink to get rid of,so as to gradually independent。 From the ink brushwork evolution, more into the humanistic spirit。

Keywords：The Yuan Dynasty, landscape painting, Cunfa, pimacu, inherit

目 录

1 绪论 3

2 隋唐五代、两宋山水画皴法发展概况 3

2。1 皴法初见倪端的隋唐五代 4

2。2 皴法走向成熟的两宋 6

3 元代山水画皴法的传承与发展 7

3。1 元代早期皴法的“草创” 7

3。2 书写灵性 清真秀拔：黄公望 9

3。3 干湿相生 烟水阔远：吴镇 11

3。4 行书折带 大象无形：倪瓒 12

3。5 繁复多变 书斋山水：王蒙 13

4 影响元代皴法特点的因素 15

4。1 地貌环境的影响 15

4。2 时代文化背景的影响 16

4。3 师承关系的影响 17

4。4 绘画材料的影响 17

结语 21

参 考 文 献 22