本文關(guān)鍵詞： 中國(guó)畫 花鳥畫 線條 兼工帶寫　出處：《沈陽(yáng)大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：花鳥畫是中國(guó)人自古以來(lái)喜愛的題材，在中國(guó)古代花鳥畫歷史上，明代是一個(gè)重要時(shí)代，特別是宣德至弘治時(shí)期，明代經(jīng)濟(jì)繁榮文化昌盛，由于宣宗朱瞻基雅好詩(shī)文書畫，以恢復(fù)兩宋畫院盛況為目標(biāo)，廣泛征招民間高手供奉內(nèi)廷一時(shí)名家云集，使宮廷花鳥畫曾一度繁榮。 宣宗皇帝偏愛花鳥畫，自己也是一名出色的花鳥畫家，存其傳世畫作《花下貍奴圖》《瓜鼠圖》其繪畫水平相當(dāng)高。正因?yàn)榛实郾旧硭囆g(shù)水平高其品鑒水平也很高，宮廷畫師水平也相應(yīng)高，當(dāng)時(shí)畫院內(nèi)名家輩出，在皇帝的大力倡導(dǎo)下，宮廷畫師的作品逐漸占據(jù)畫壇的主導(dǎo)地位，并引領(lǐng)了當(dāng)時(shí)的花鳥畫風(fēng)格，在此期間花鳥畫出現(xiàn)了工筆重彩、水墨寫意等多種風(fēng)格。 寫意、工筆是中國(guó)畫的基本表現(xiàn)手法。按發(fā)展過(guò)程來(lái)講，工與寫的發(fā)展過(guò)程中出現(xiàn)了兼工帶寫的表現(xiàn)形式，有承前啟后的作用。寫意、工筆并非完全對(duì)立且有一定的互通性。工，不僅僅是指造型嚴(yán)謹(jǐn)、線條細(xì)勻、賦色工整一類的繪畫風(fēng)格；寫，也不應(yīng)該只是隨性揮灑而不注重格調(diào)與規(guī)律的。工與寫不僅僅是技法的表現(xiàn)，更是精神層面的再現(xiàn)，落實(shí)到繪畫中，既要寫意傳神又工整細(xì)致還應(yīng)是兼工帶寫的表現(xiàn)手法，才能使繪畫風(fēng)格工整精致，細(xì)節(jié)上又賦有寫意精神。 中國(guó)畫的白描只畫線不填顏色，也能傳神達(dá)意，因此國(guó)畫的傳神表現(xiàn)手段是線條。本文以線條的哲理含義闡釋線條發(fā)展成線畫的特殊形式，，并以花鳥作品呈多樣化的明代為切入點(diǎn)，著重研究兼工帶寫花鳥畫中的線性思維，與在現(xiàn)實(shí)的花鳥畫創(chuàng)作中怎樣更好的運(yùn)用兼工帶寫式的線條。
[Abstract]:Flower and bird painting is a favorite subject of Chinese people since ancient times. In the history of Chinese ancient flower and bird painting, Ming Dynasty was an important era, especially during the period of Xuande to Hongzhi, and the Ming Dynasty was prosperous in economy and culture. As a result of Xuanzong Zhu Qiya good poetry calligraphy and painting, to restore the two Song Dynasty painting Academy as the goal, the widespread recruitment of folk experts to pay tribute to the Neiting, so that the palace flowers and birds painting once prosperous. Emperor Xuanzong preferred flower-and-bird paintings and was also an excellent painter of flowers and birds. Because the emperor's own art level was very high, and the court painters' level was also high, there were a lot of famous artists in the painting institute at that time. Under the strong advocacy of the emperor, court painters' works gradually occupied the dominant position in the painting world, and led the flower-and-bird painting style at that time. During this period, the flower-and-bird painting appeared in a variety of styles, such as fine brushwork, brushwork and freehand brushwork. Freehand brushwork is the basic expression of Chinese painting. According to the development process, the development of the process of work and writing appeared in the process of work with the performance of the form of writing, has the role of connecting the past and the future. Freehand brushwork. Meticulous brushwork is not completely opposite and has certain interoperability. Writing, also should not just swing along with the style and do not pay attention to the law. The work and writing is not only the performance of the techniques, but also the spiritual level of reproduction, to be implemented in the painting. Both freehand brushwork and neat and meticulous work should also be the expressive technique of writing in order to make the painting style neat and exquisite, and to have the spirit of freehand brushwork in detail. The white drawing of Chinese painting can only draw lines without filling in color, and can also evoke meaning. Therefore, the expressive means of traditional Chinese painting is line. This article explains the special form of line development from line to line with the philosophical meaning of line. Taking the variety of flower and bird works as the breakthrough point, this paper focuses on the linear thinking in the writing of flowers and birds, and how to make better use of the writing lines in the realistic flower and bird painting.
【學(xué)位授予單位】：沈陽(yáng)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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