本文關(guān)鍵詞：從王淵到徐渭-水墨花鳥畫寫真到寫意形態(tài)的轉(zhuǎn)變　出處：《山東工藝美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 水墨寫真形態(tài) 水墨寫意形態(tài) 王淵花鳥畫 徐渭花鳥畫

【摘要】：水墨畫是我國(guó)傳統(tǒng)繪畫殿堂中的瑰寶�；B畫又是中國(guó)畫的一大分支。其中水墨花鳥畫的出現(xiàn)構(gòu)成了花鳥畫藝術(shù)獨(dú)特而燦爛的風(fēng)景線。在對(duì)歷史上花鳥畫藝術(shù)宏觀把握的基礎(chǔ)上,對(duì)花鳥畫形態(tài)的結(jié)構(gòu)進(jìn)行分析。借鑒馬良書對(duì)中國(guó)畫形態(tài)的分類,重點(diǎn)研究元代王淵和明代徐渭的繪畫,挖掘出水墨花鳥畫由寫真到寫意的演變趨勢(shì)。首先水墨寫真繪畫是區(qū)別于隋唐和宋代最為興盛的工筆重彩花鳥畫而言的。水墨寫真花鳥畫吸收了工筆繪畫的長(zhǎng)處,注重造型的準(zhǔn)確生動(dòng),物象來(lái)源于自然,并通過(guò)藝術(shù)的表現(xiàn)再現(xiàn)物象,水墨寫真的花鳥畫在運(yùn)用筆墨上相對(duì)靈活多變,因此物象在塑造上具有更多的主觀性因素。其次,水墨寫真與重彩寫真繪畫的最大不同在于重彩寫真是以色彩來(lái)表現(xiàn)物象,而水墨寫意繪畫舍棄了色彩的描繪,僅用水墨來(lái)代替色彩進(jìn)行物象的描繪,這可以說(shuō)是繪畫史上重要的形態(tài)轉(zhuǎn)變。本文選取元代王淵的繪畫作為例證,著重闡述了他具有代表性的“墨花墨禽”。隨著社會(huì)和時(shí)代的發(fā)展,水墨寫真繪畫逐漸過(guò)渡到水墨寫意繪畫形態(tài)。水墨寫真形態(tài)和水墨寫意形態(tài)在物質(zhì)媒材、藝術(shù)表現(xiàn)、藝術(shù)效果、審美觀念等方面均有不同,后者更加注重抒情性和創(chuàng)造性。本文選取了明代畫家徐渭的花鳥畫作為例證,并與王淵繪畫形態(tài)進(jìn)行對(duì)比,進(jìn)一步論證兩種繪畫形態(tài)演變的特征。筆者論述本文希望達(dá)到以下三個(gè)目的,一是水墨花鳥畫在歷史上一直占有不可或缺的地位,對(duì)它的深入研究有助于進(jìn)一步拓展水墨花鳥畫的表現(xiàn)力,并為以后的研究提供一些參考。二是源于筆者對(duì)花鳥畫的喜愛,又被中國(guó)古代燦爛的水墨藝術(shù)所吸引,希望通過(guò)深入地探究,一方面有助于加深我們對(duì)于傳統(tǒng)民族藝術(shù)的理解,吸收傳統(tǒng)藝術(shù)中的精華,另一方面也希望在繼承的基礎(chǔ)上,能夠有所創(chuàng)造,通過(guò)理論與實(shí)踐的結(jié)合把中國(guó)傳統(tǒng)藝術(shù)發(fā)揚(yáng)光大。
[Abstract]:Chinese ink painting is a treasure in the traditional painting hall of our country. The flower and bird painting is also a big branch of Chinese painting. The appearance of the ink flower and bird painting constitutes the unique and splendid scenery line of the flower and bird painting art. In the history, the flower and bird painting art is great. View on the basis of grasp. Analyze the structure of flower and bird painting form. Learn from the classification of Chinese painting form of Ma Liangshu, focus on the Yuan Dynasty Wang Yuan and Ming Dynasty Xu Wei painting. Dig out the evolution trend of ink painting from portrait to freehand brushwork. First of all, the painting of ink painting is different from the most prosperous painting of the Sui, Tang and song dynasties. Ink painting of flowers and birds has absorbed the advantages of fine brushwork. . Pay attention to the accuracy and vividness of the modelling, the object image comes from nature, and through the artistic expression reproduces the object image, the flower-and-bird painting of the ink painting is relatively flexible and changeable in the use of the pen and ink. Therefore, there are more subjective factors in the creation of the object image. Secondly, the biggest difference between the ink painting and the heavy color painting is that the heavy color painting is to show the object image, while the ink painting abandoned the color description. Only the use of ink instead of color to describe the object, this can be said to be an important change in the history of painting. This paper selected the Yuan Dynasty Wang Yuan painting as an example. With the development of the society and the times, the ink painting has gradually transferred to the form of freehand brushwork. The form of ink brushwork and the form of freehand brushwork are in the material medium. Art performance, artistic effects, aesthetic concepts are different, the latter pays more attention to lyricism and creativity. This paper selected Xu Wei's flower-and-bird painting as an example, and compared it with Wang Yuan's painting form. To further demonstrate the characteristics of the evolution of the two forms of painting. The author discusses the following three purposes: the first is the painting of ink flowers and birds in history has been playing an indispensable role. The in-depth study of it will help to further expand the performance of ink and bird painting, and provide some reference for future research. Second, it is derived from the author's love of flower and bird painting, but also attracted by the brilliant painting art in ancient China. Hope through in-depth exploration, on the one hand help us to deepen our understanding of traditional national art, absorb the essence of traditional art, on the other hand, also hope to inherit on the basis of something to create. Through the combination of theory and practice, Chinese traditional art is carried forward.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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