本文選題：潘天壽 + 山石　； 參考：《中央美術(shù)學(xué)院》2017年碩士論文

【摘要】：潘天壽是我國(guó)現(xiàn)代著名畫家、美術(shù)教育家,他在藝術(shù)處理上十分嚴(yán)謹(jǐn),無(wú)論大的布局,還是小的章法,處處體現(xiàn)出其思考的嚴(yán)密性。山石元素是潘天壽非常喜歡表現(xiàn)的題材之一。他的山石面貌的形成與他所處的歷史環(huán)境,個(gè)人性格以及"不薄今人愛(ài)古人"的學(xué)習(xí)是分不開的。他作品中的山石與傳統(tǒng)花鳥畫中山石的面貌不盡相同,文章從筆墨、造形、位置三個(gè)方面來(lái)論述其山石的特殊性。其筆墨老辣生澀,語(yǔ)言概括提煉;其造形呈現(xiàn)出"大"、"方"、"簡(jiǎn)"的特點(diǎn);從位置上來(lái)說(shuō)潘天壽有兩種具有代表性的處理方式,一種是碩大無(wú)比的"潘公石",常常占據(jù)畫面十分之九的面積,另一種是潘天壽將山水與花鳥相結(jié)合創(chuàng)作的四面包圍如《小龍湫下一角》的構(gòu)式。他的山石在畫面中所占面積極大,常居于主體地位,在畫面中起到造險(xiǎn)、拉大節(jié)奏對(duì)比、強(qiáng)調(diào)畫面秩序的作用。本篇文章通過(guò)圖片分析法,從創(chuàng)作的角度分析潘天壽的山石在畫面中所起到的作用,通過(guò)分析,梳理出潘天壽在創(chuàng)作中所進(jìn)行的思考,對(duì)我的創(chuàng)作具有實(shí)際的指導(dǎo)意義。同時(shí)文章運(yùn)用了比較分析法,通過(guò)與八大山人、吳昌碩的類比,可以更直觀的發(fā)現(xiàn)潘天壽山石的與眾不同之處。他對(duì)山石巧妙的運(yùn)用使得他的畫面大大區(qū)別于前人,是構(gòu)成他畫面雄強(qiáng)面貌的一個(gè)重要因素。
[Abstract]:Pan Tianshou is a famous painter and educator of art in our country. He is very strict in dealing with art. Regardless of the big layout or the small rules, he reflects the strictness of his thinking everywhere. The rock element is one of Pan Tianshou's favorite subjects. The formation of his rock features is inseparable from his historical environment, his personal character and the study of his love for the ancients. The landscape stone in his works is different from that in the traditional flower-and-bird painting Zhongshan stone. The article discusses the particularity of the mountain stone from three aspects: pen and ink, shape and position. Its pen and ink are old and spicy, and its language is summarized and refined; its shape presents the characteristics of "big", "square" and "simple"; in terms of position, Pan Tianshou has two representative processing methods, One is the enormous "Pan Gong Shi", often occupying 9/10 of the screen area, the other is the Pan Tianshou landscape and flowers and birds combined with the creation of surrounded by four sides, such as "Little Dragon Pool next corner." His rock occupies a large area in the picture, often occupies the main position, plays a dangerous role in the picture, draws up the rhythm contrast, and emphasizes the function of the picture order. This article through the picture analysis, from the creation angle analysis Pan Tianshou's mountain stone in the picture function, through the analysis, combs out the Pan Tianshou in the creation carries on the ponder, has the actual instruction significance to my creation. At the same time, the article uses the comparative analysis method, through the analogy with the eight mountain people, Wu Changshuo, can more intuitively discover the difference of Pantian Shoushan stone. His skillful use of mountains and rocks makes his picture greatly different from his predecessors, which is an important factor in making his picture strong.
【學(xué)位授予單位】：中央美術(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

【參考文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 謝青;潘天壽花鳥畫藝術(shù)研究[D];中央美術(shù)學(xué)院;2008年

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本文編號(hào)：1871221