本文選題：徐渭　切入點：大寫意　出處：《江西科技師范大學》2013年碩士論文　論文類型：學位論文

【摘要】：“逸”是一個具有鮮明民族特色的美學概念，本文以“逸”這個美學概念作為主線，貫穿到徐渭大寫意花鳥畫當中，探究其繪畫當中所具有的獨特藝術(shù)魅力�！耙荨痹谥袊鴤鹘y(tǒng)藝術(shù)當中的最高追求就是將人生的超越在藝術(shù)作品中展開，徐渭正是追求"游戲筆墨，放逸天成"精神境界與筆墨技巧上"不求形似求生韻"的藝術(shù)化樣式。他獨特的文人畫風格和不拘實時的"重本色"人格魅力在明代水墨大寫意繪畫當中體現(xiàn)的淋漓盡致。徐渭在明朝革新精神最強、敢于破除舊序、抒發(fā)激憤不平情感，建立了自己鮮明風格的一位藝術(shù)巨匠。他一改吳門文人畫派花鳥畫自然秀潤、典雅靜婉的繪畫風格，其用筆精煉粗放、氣韻生動、側(cè)鋒疾掃、氣勢磅礴，，形成縱逸狂放風格開創(chuàng)了對其之后四百余年都產(chǎn)生了極大影響的大寫意水墨畫。徐渭的作品從切身生活方式出發(fā)在癡情率真當中傳達出樸實動人的生命感受，他的繪畫常表現(xiàn)出一種縱心天成的高超境界而致使他文人境界的個性化的超逸，并將這種超逸表現(xiàn)在其藝術(shù)作品當中，其實就是黃休復、蘇子瞻、子由所謂的放逸。 將徐渭的大寫意花鳥畫藝術(shù)放到更為廣闊的中國藝術(shù)精神的訴求當中去尋找答案，把其藝術(shù)作品在傳統(tǒng)水墨畫的基礎(chǔ)上往前推進一大步，證明徐渭水大寫意花鳥畫之“放逸”才更加貼近中國文化的精髓。當然其藝術(shù)風格的形成也與晚明社會、政治、思想文化有很大關(guān)系的同時也是徐渭一生坎坷不平、狂狷人格的藝術(shù)體現(xiàn)。本文的創(chuàng)新點就是先對“逸”進行全面剖析之后。用來分析研究徐渭的藝術(shù)成就，并由此得出合理的結(jié)論。 本文研究徐渭大寫意花鳥“放逸”風格探析，從放逸風格的歷史與現(xiàn)狀入手，對徐渭大寫意花鳥之“放逸”風格進行了解讀。然后選取了八大山人之朱耷和西方繪畫中的天才梵高，進行了對比分析，最終對細微大寫意花鳥放逸風格的研究現(xiàn)實意義進行了總結(jié)。
[Abstract]:"Yi" is an aesthetic concept with distinct national characteristics. This article takes the aesthetic concept of "Yi" as the main line and runs through Xu Wei's large freehand brushwork of flower-and-bird paintings. Explore the unique artistic charm in his paintings. The highest pursuit of "Yi" in Chinese traditional art is to expand the transcendence of life in the works of art. His unique style of literati painting and his personality charm of "heavy color" reflected in the painting of large freehand brushwork in the Ming Dynasty. Incisively and vividly. Xu Wei's spirit of innovation was strongest in the Ming Dynasty. He dares to break down the old preface, express his indignant feelings, and establish an art magnate of his own distinctive style. He has changed the natural, elegant and gentle painting style of the flower-and-bird painting of the Wu Men literati school, and his pen is refined, extensive and lively. The side of the front swept, majestic, The formation of a free and wild style created a large freehand brushwork that had had a great impact on it for more than 400 years. Xu Wei's works set out from his own way of life and conveyed a simple and moving feeling of life in his infatuation and truthfulness. His paintings often show a supernatural realm of vertical heart, which results in his literati realm of individualized superlative, and the expression of this supercosm in his works of art is in fact Huang Xiufu, Su Zi-zan and Zi Yu. Put Xu Wei's large freehand brushwork of flower-and-bird painting among the demands of the broader Chinese artistic spirit to find an answer, and take his works of art to a big step forward on the basis of traditional Chinese ink painting. It is proved that the "ease" of Xu Wei-shui 's great freehand brushwork is closer to the essence of Chinese culture. Of course, the formation of his artistic style also has great relations with the society, politics, ideology and culture of the late Ming Dynasty, and it is also the bumpy of Xu Wei's life. The innovation of this paper is to analyze the artistic achievement of Xu Wei and draw a reasonable conclusion. This article studies Xu Wei's style of "letting loose" flowers and birds in big freehand brushwork, starting with the history and present situation of the style of letting go. This paper interprets Xu Wei's style of freehand brushwork of flowers and birds, and then selects Zhu Da of eight mountain people and Van Gogh, a genius in western painting, to carry out a comparative analysis. Finally, it summarizes the practical significance of the research on the style of letting off flowers and birds in fine big brushwork.
【學位授予單位】：江西科技師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前1條

1 陳根雄;;寫意的逸品——當代中國水彩畫的國畫傳承[J];美術(shù)界;2010年08期

本文編號：1574842