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摘要诗情与画意的完美融合在中国山水画的发展中起着至关重要的作用，追求意境美，讲求形神兼备，是中国山水画的审美内涵。意在笔先，只要拥有对浮生万象诗般的感受提炼，则一墨点染可成花，一纸风流惊天地。人是可以诗意地栖居在这个大地上的，范宽的传世作品《溪山行旅图》很好地诠释了这一点，隐逸在丹青墨宝下的，是绘者的一片诗意真情，内里“气”的涵养结合对自然的汲取，创造一幅富有内在生命力的行旅图。41232
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米南宫曾描述其创作特征：“范宽山水丛丛如恒岱，远山多正面，折落有势。山顶好作密林，水际作突兀大石，溪山深虚，水若有声。晚年用墨太多，势虽雄伟，然深暗如暮夜晦暝，土石不分。”《溪山行旅图》的诗意营造主要体现在山石水口、构图点景的处理上，笔纵劲利，心思巧妙，给观者呈现北方山水的雄壮而不失灵动的美感意境。
毕业论文关键词：诗情；山水画；气韵
The wide range of "travelling Xishan" a quality suggestive of poetry or painting
Abstract
Poetry and painting the perfect fusion plays a crucial role in the development of Chinese landscape painting, the pursuit of artistic beauty, emphasizes the Xingshenjianbei is the aesthetic connotation of Chinese landscape painting. As long as have a meaning before, Vientiane poetic feeling is a refined, ink can be Dianran into flowers, a romantic world. Combining people can dwell poetically on the earth, a wide range of masterpieces "travelers among mountains and streams" a good interpretation of the this, hermit in Danqing calligraphy is painted a piece of poetic truth, inside the "gas" conservation of natural draw, create a rich inner vitality traveler picture.
Nangong has described the creation characteristics of M: "Tooyama Tamasa Fan Kuan's landscape patches such as constant folding, Dai, potential fall. The good for the jungle, water as towering boulders, mountain deep water deficiency, if there is a sound. Old age Motaiduo, although the potential is grand, although deep dark as night dark, no debris." "Travelers among mountains and streams" of poetic creation is mainly embodied in the stone gate, composition of point out the scenery, longitudinal pen Jin Lee, ingenuity, to the audience present northern landscape majestic and facial beauty of artistic conception.
Key Words: Poetry；Landscape painting；Qiyun
目 录
摘要-1
Abstract-Ⅱ
目录Ⅲ
一、范宽的生平背景与师承1
二、溪山行旅图2
三、溪山行旅图的诗情营造2
（一）甲字构图，入目心动-3
（二）楼阁行旅，点景造意-3
（三）画骨山石，水若有声-4
（四）真石老树，挺生笔下-5
参考文献6
一 范宽的生平背景与师承
范宽，为山水画北宋三大家之一，生卒年代不详。华原（今陕西耀县）人，或做关中人。字中立，脾性宽缓，人呼“范宽”。其人如其名，“仪状峭古”，即仪态样貌仿佛千仞峭壁，坚定傲然，打扮装束去其繁饰，简练古朴。复言其“不拘事故，进止疏野，嗜酒落魄。”天性喜爱喝酒以及道家之道法，不被人情世事所拘束。其在艺术创作上主张对自然山水的真实感悟、主观汲取，把自己的精神与山林自然的精神相融汇，达到理通神会，从而造就他的绝世奇能。
范宽初学李成，摹习李成之笔法；后效法洪谷子荆浩，继承发展其全景式山水画法，终觉“与其师人，不若师诸造化”。 “前人之法，未尝不近取诸物。”他发现过去的大家在创作技法上也是从自然真境里获取灵感来源的，因而与其师前人之法，不如“师诸心”。并移居终南山（今横亘陕西南部）、太华山（今华山），于岩隈林麓间，终日危坐四顾，对景求趣造意，笔墨丹青融汇真情，写山水真貌而不取繁饰，发之毫端，卓然成为一家。画山多取正面，宽大雄武，巍然屹立；石纹脉络取豆瓣、雨点状的密集皴笔，峻重老苍；画屋既质，后人呼之“铁屋”。山石墨线勾勒枯老、劲硬，所绘峰峦浑厚、严峻，水际好作突兀大石。评者以为“善与山传神”，能“得山之骨”。