發(fā)布時(shí)間：2018-03-20 05:00

  本文選題：宋代院體畫　切入點(diǎn)：寫意性　出處：《山西師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：宋代院體畫寫實(shí)特點(diǎn)比較突出,但在表現(xiàn)其寫實(shí)性的同時(shí),寫意性也同樣存在于其中。本文以宋代院體畫中的工筆花鳥畫為例來論述其中的寫意性表達(dá)。宋代院體工筆花鳥畫在中國繪畫史上達(dá)到了巔峰,是繪畫發(fā)展史上的一個(gè)重要時(shí)期。當(dāng)時(shí)的社會(huì)政治穩(wěn)定,經(jīng)濟(jì)文化繁榮,在這樣的環(huán)境下,會(huì)讓人們在滿足物質(zhì)需求的同時(shí),去追尋精神層面的享受。統(tǒng)治階層受理學(xué)思想的影響,推崇重文抑武的政策,加之自身對繪畫的喜愛,建立畫院,禮遇畫家,使得畫院在宋代趨于成熟,出現(xiàn)了一大批為宮廷服務(wù)的畫家,根據(jù)統(tǒng)治者的需要,喜好去作畫。這就為工筆花鳥畫的發(fā)展提供了一個(gè)很好的空間。理是事物的內(nèi)在規(guī)律,本質(zhì),是對本真的追求。在這樣的社會(huì)背景和理性思潮的時(shí)代風(fēng)貌下,使得宋代院體工筆花鳥畫具有富貴“寫實(shí)”的特點(diǎn)。但宋代院體工筆花鳥畫的寫實(shí)與西方繪畫的寫實(shí)在某些方面是不同的。西方寫實(shí)繪畫的寫生方式、科學(xué)理性的觀察方法、客觀嚴(yán)謹(jǐn)?shù)臉?gòu)圖方式、解剖透視法作為表現(xiàn)手段的繪畫風(fēng)格。從物象的形狀、顏色、質(zhì)感、空間、比例關(guān)系等方面入手,偏向客觀地再現(xiàn)事物的外觀,比較依賴客觀物象,常立足于相對固定的時(shí)間或空間內(nèi),采用光影來表現(xiàn)體積,再現(xiàn)如大自然般真實(shí)的色彩。而宋代院體工筆花鳥畫追求的寫實(shí)是從事物的結(jié)構(gòu)、造型入手,追求與真實(shí)物象貼切。但這只是一個(gè)表象,實(shí)際是通過對事物的真實(shí)描繪去尋求其內(nèi)在的本質(zhì),是對事物的本真和精神的描繪,創(chuàng)作者將其情感融入其中,去寫真實(shí)的生活。需要主體在描繪時(shí)掌握其規(guī)律和特點(diǎn)后,去進(jìn)行的主觀處理。這個(gè)過程就需要在寫生中寫實(shí),其中就是寫意性的表達(dá)。宋代院體工筆花鳥畫在演變的過程中出現(xiàn)了不同的畫派,起初是黃荃富貴,后來崔白進(jìn)行變法,把徐熙的野逸發(fā)展了起來,到了趙佶時(shí)期吸收二者的優(yōu)點(diǎn),再后來發(fā)展出來的文人意筆畫。但無論哪個(gè)時(shí)期,以形寫神都達(dá)到很高造詣,可謂神形兼?zhèn)?都具有寫意性的表達(dá)。雖然有很多觀點(diǎn)證明宋代院體工筆花鳥畫是寫實(shí)的,但是縱觀中國繪畫史它是寫意的。當(dāng)今社會(huì)比起宋代,更是一個(gè)多元化的時(shí)期。在發(fā)展中出現(xiàn)了一些新的元素如西學(xué)東漸、新型材料,導(dǎo)致出現(xiàn)了很多種持有不同觀點(diǎn)的繪畫流派。不同流派間的碰撞,加之人心浮躁、跟風(fēng)等,使得當(dāng)代工筆畫形式豐富的同時(shí),流于制作性。從歷屆全國美展的作品中能夠發(fā)現(xiàn),工筆畫多于寫意畫,制作性多于繪畫性。本文將置身到宋代院體工筆花鳥畫中,重點(diǎn)闡述其中的寫意性表達(dá),及其重要性。以及對當(dāng)代工筆畫在創(chuàng)作時(shí)存在的問題提供一些啟示。
[Abstract]:The characteristics of realistic painting in the Song Dynasty are quite prominent, but at the same time, it shows its realism. The freehand brushwork also exists in it. This article takes the fine brushwork and bird painting of the Song Dynasty as an example to discuss the freehand brushwork expression. The Song Dynasty Academy fine brushwork flower-and-bird painting has reached the peak in the history of Chinese painting. It is an important period in the history of painting development. Social and political stability, economic and cultural prosperity at that time, in such an environment, will allow people to meet material needs at the same time, To pursue the spiritual enjoyment. The ruling class accepted the influence of learning thought, respected the policy of emphasizing literature and suppressing military force, in addition to their own love of painting, the establishment of painting school, courtesy to artists, so that the school in the Song Dynasty tend to mature, There appeared a large number of painters who served the court and liked to paint according to the needs of the rulers. This provided a good space for the development of meticulous flower-and-bird paintings. Reason is the inherent law and essence of things. It is the pursuit of truth. Under such social background and rational trend of thought, It makes the fine brushwork of the Song Dynasty have the characteristic of rich and noble "realistic". But the realism of the fine brushwork of the Song Dynasty is different from that of the western painting in some aspects. The realistic way of the western realistic painting, the scientific and rational observation method, Objective and rigorous composition, anatomical perspective as a means of expression of the painting style. From the object shape, color, texture, space, proportion relations and other aspects, tend to objectively reproduce the appearance of things, more dependent on objective objects, Often based on a relatively fixed time or space, the use of light and shadow to represent the volume, to reproduce the true color as nature. And the Song Dynasty fine brushwork flower-and-bird painting pursuit of realism is from the structure of things, modeling, But this is only a representation. In fact, it is to seek the inner essence of things through the true depiction of things, to depict the truth and spirit of things, and the creators to incorporate their emotions into them. To write about real life. It requires subjective treatment by the subject after mastering its laws and characteristics. This process requires realism in sketching. Among them is the expression of freehand brushwork. In the process of evolution of the fine brushwork and bird painting of the Song Dynasty, different painting schools appeared. At first, Huang Quan was rich and expensive, then Cui Bai reformed the method, which developed Xu Xi's wild and easy life. By the time of Zhao Ji, he absorbed the advantages of the two and later developed the literati brushstrokes. However, no matter which time, he achieved high attainments in writing God in form, which can be described as a combination of spirit and form. Although there are many viewpoints that prove that the fine brushwork and bird painting of the Song Dynasty is realistic, but throughout the history of Chinese painting it is freehand brushwork. It is also a period of diversification. In the process of development, some new elements have emerged, such as the gradual development of Western learning to the east and new materials, which has led to the emergence of many painting schools with different views. The collision between different schools, coupled with the impetuosity of the people and following the trend, and so on, From the works of previous national art exhibitions, we can find that fine brushwork is more than freehand brushwork and production is more than painting. This article will place itself in the fine brushwork of the Song Dynasty. The emphasis is on the freehand brushwork expression and its importance, as well as some enlightenment to the problems existing in the creation of contemporary fine brushwork.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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