【摘要】：在世界藝術(shù)史上從古希臘雕刻、宋代繪畫和意大利文藝復(fù)興藝術(shù)這三個(gè)再現(xiàn)藝術(shù)高峰中,宋人以重視寫生著稱,而宋代花鳥畫研究當(dāng)以辨識(shí)花鳥為基本前提。一部完善的花鳥畫史,也應(yīng)把相當(dāng)部分留給描繪對(duì)象,可長(zhǎng)期以來(lái),研究者不注重自然科學(xué)方法,遂使畫史因循守舊而成陳詞濫調(diào),使人對(duì)感知實(shí)物真相有愈隔愈遠(yuǎn)之憾。本文以鳥類學(xué)和植物學(xué)的精湛知識(shí),結(jié)合對(duì)宋代文獻(xiàn)的扎實(shí)考證,以及作者本人作為花鳥畫家的經(jīng)驗(yàn),在藝術(shù)和科學(xué),感性和理性之間架起了一座橋梁,實(shí)現(xiàn)了其對(duì)立統(tǒng)一,從而向世人揭示了宋代繪畫認(rèn)知結(jié)構(gòu)、發(fā)展規(guī)律和特有魅力。本文以徽宗的存世作品作為主要研究方向,分為兩個(gè)部分。第一部分是以《五色鸚鵡圖》作為個(gè)案微觀研究,在梳理徽宗存世作品的基礎(chǔ)上澄清了宋徽宗作畫習(xí)慣和工作環(huán)境。通過(guò)對(duì)五色鸚鵡的品種、來(lái)源、色彩及徽宗作品、詩(shī)詞等諸多相關(guān)問題的討論,折射出那個(gè)時(shí)代的政治、外交、社會(huì)及宋人的認(rèn)識(shí)、思想、情感等方方面面。第二部分是第一部分所用方法的延伸,首先對(duì)現(xiàn)存宋代繪畫中的鳥類進(jìn)行了辨識(shí)分類并整理成表,這是一項(xiàng)基礎(chǔ)性的宏觀層面上的工作。其次詳細(xì)考證了與徽宗相關(guān)的其它三張作品《柳鴉蘆雁圖》、《寫生珍禽圖》和《梨花鸚鵡圖》,通過(guò)科學(xué)考證,結(jié)合傳統(tǒng)的美術(shù)史研究方法和手段,對(duì)宋代繪畫的真?zhèn)�、傳承和�?chuàng)作年代的斷定等方面上得出了新的研究成果,并對(duì)某些似是而非的美術(shù)史觀點(diǎn)提出批判。
[Abstract]:In the history of world art from the ancient Greek sculpture, Song Dynasty painting and Italian Renaissance art of the three reproduction art peak, Song people are known for attaching importance to sketching, and the Song Dynasty flower and bird painting research should be based on the identification of flowers and birds as the basic premise. A perfect history of flower-and-bird painting should also leave a considerable part to the object of description, but for a long time, researchers did not pay attention to natural science methods, thus making the history of painting become clich 茅 s and clich 茅 s, which makes people feel more and more distant from the truth of material objects. Based on the consummate knowledge of ornithology and botany, combined with the solid textual research on the literature of the Song Dynasty, and the author's experience as a flower and bird painter, this paper builds a bridge between art and science, sensibility and reason, and realizes the unity of opposites. It reveals the cognitive structure, development law and special charm of painting in Song Dynasty. In this paper, Huizong's works of the world as the main research direction, divided into two parts. The first part is a case study of the five-color parrot, which clarifies the painting habits and working environment of Huizong in Song Dynasty on the basis of combing the existing works of Huizong. Through the discussion of the varieties, sources, colors and works of Huizong, poetry and other related issues of the multicolored parrot, it reflects the political, diplomatic, social and Song people's understanding, thought, emotion and other aspects of that era. The second part is the extension of the methods used in the first part. Firstly, the birds in the painting of the Song Dynasty are identified and classified into tables, which is a basic work on the macro level. Secondly, it makes a detailed study of the other three works related to Huizong, "Liu-Raven Goose Pictures", "sketching rare Birds" and "Pear Parrot Pictures". Through scientific research and combining with traditional art history research methods and means, the authenticity of the paintings of the Song Dynasty is discussed. New research results have been obtained from inheritance and the determination of creative age, and some specious viewpoints on art history have been criticized.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J212

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本文編號(hào)：2395950