本文選題：齊白石　切入點(diǎn)：遠(yuǎn)游　出處：《江南大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：齊白石是二十世紀(jì)中國(guó)最負(fù)盛名、最具有創(chuàng)造性和影響力的一位藝術(shù)大師,他在詩(shī)、書(shū)、畫(huà)、印這四個(gè)方面具有極高的造詣。在近一個(gè)世紀(jì)的漫長(zhǎng)生涯里,他不斷探索創(chuàng)新,開(kāi)創(chuàng)了新一代寫(xiě)意中國(guó)畫(huà)的新浪潮。從20世紀(jì)50年代以來(lái),對(duì)齊白石的研究,不論在國(guó)內(nèi)還是在國(guó)外,一直都是美術(shù)史研究的經(jīng)典課題,但是針對(duì)齊白石“五出五歸”遠(yuǎn)游對(duì)其繪畫(huà)創(chuàng)新的影響的研究卻不常見(jiàn),鑒于此,本人通過(guò)查閱有關(guān)齊白石的資料,提煉出四大模塊并展開(kāi)論證。即(1)遠(yuǎn)游之前的社會(huì)影響、遠(yuǎn)游的背景以及遠(yuǎn)游的內(nèi)涵。這一部分主要是梳理他早期的經(jīng)歷,一次偶然,也是最重要的機(jī)會(huì)他認(rèn)識(shí)了郭葆生和夏午詒,從此開(kāi)始他的遠(yuǎn)游之路。(2)通過(guò)齊白石遠(yuǎn)游期間看到的前人作品,遠(yuǎn)游期間所作的畫(huà)與遠(yuǎn)游期間對(duì)大自然的真實(shí)體驗(yàn),遠(yuǎn)游與之后“衰年變法”之間的聯(lián)系,最終引出齊白石的“衰年變法”。(3)對(duì)齊白石三個(gè)不同時(shí)間段的繪畫(huà)進(jìn)行分析。齊白石在遠(yuǎn)游之前受胡沁園等人的影響,主要是以工筆人物畫(huà)為主,筆墨清新整齊,用工筆寫(xiě)實(shí)的技法,把人物的每一個(gè)細(xì)節(jié)都刻畫(huà)的惟妙惟肖,體現(xiàn)出他敏銳而細(xì)致入微的觀察力;從遠(yuǎn)游開(kāi)始,隨著眼界的開(kāi)闊以及陳師曾等人的影響,齊白石開(kāi)始改變畫(huà)風(fēng),由工筆過(guò)度到寫(xiě)意,作品無(wú)論是構(gòu)圖和造型上,還是用筆和墨色上,都精心布局,體現(xiàn)出一種空間的平深高遠(yuǎn)之感,富有新意,畫(huà)面單純簡(jiǎn)潔;至晚年,齊白石的繪畫(huà)已趨于穩(wěn)定,創(chuàng)造了獨(dú)樹(shù)一幟的大寫(xiě)意花鳥(niǎo)畫(huà),打破了傳統(tǒng)中國(guó)畫(huà)的繪畫(huà)常規(guī),他大膽使用大紅大綠,自創(chuàng)了“紅花墨葉”一派。(4)齊白石繪畫(huà)上的創(chuàng)新以及“五出五歸”與齊白石繪畫(huà)創(chuàng)新上的聯(lián)系。五次遠(yuǎn)游使齊白石在人際交往,思想境界和繪畫(huà)創(chuàng)作等方面都得到了提高,在此基礎(chǔ)上,這一部分又從繪畫(huà)創(chuàng)新理論上、繪畫(huà)創(chuàng)新實(shí)踐上、表現(xiàn)題材上來(lái)加以分析,從而引出齊白石“五出五歸”遠(yuǎn)游對(duì)其繪畫(huà)創(chuàng)新的影響。遠(yuǎn)游影響著齊白石的繪畫(huà)與創(chuàng)新,也給當(dāng)代一部分應(yīng)用“圖像寫(xiě)生”進(jìn)行創(chuàng)作的畫(huà)家以啟示。他的繪畫(huà)以其淳樸的民間藝術(shù)風(fēng)格與傳統(tǒng)的文人畫(huà)風(fēng)格相互融合,以雅俗共賞的形式真切的表達(dá)了中國(guó)人民的思想感情,并從側(cè)面反映出20世紀(jì)藝術(shù)風(fēng)格的新追求,達(dá)到了現(xiàn)當(dāng)代中國(guó)繪畫(huà)的最高峰。
[Abstract]:In 20th century, Qi Baishi was one of the most famous, creative and influential artists in China. He had great attainments in poetry, books, paintings and printing. During his long career of nearly a century, he continued to explore and innovate. Since 1950s, the study of Qi Baishi, both at home and abroad, has been a classic subject in the study of art history. However, it is not common to study the influence of Qi Baishi's "five out five Gui" distant tours on his painting innovation. In view of this, I have abstracted four major modules and demonstrated them by consulting the relevant information about Qi Baishi. That is, the social impact before the distant tour. The background and connotation of a long trip. This part is mainly to sort out his early experiences, a chance, and the most important opportunity for him to get to know Guo Baosheng and Xia Wuyi. From then on, he began to visit the road. 2) through the works of predecessors seen during Qi Baishi's long trip, the paintings made during the long trip and the true experience of nature during the long journey, the connection between the distant tour and the later "declining year reform". Finally, it leads to Qi Baishi's "bad year reform.") it analyzes three different periods of paintings of Qi Baishi. Before visiting the distant region, Qi Baishi was influenced by Hu Qinyuan and others, mainly by meticulous brushwork, clean and tidy brushwork, and neatly brushwork. With the technique of meticulous realism, every detail of the character was depicted vividly, reflecting his keen and meticulous observation; from the beginning of the distant journey, Qi Baishi began to change the style of painting with the broadening of his horizons and the influence of Chen Shizeng and others. From meticulous brushwork to freehand brushwork, the composition and modeling of the works, as well as the pen and ink color, are carefully laid out, reflecting a sense of space, deep, deep and distant, full of new ideas, simple and simple; in later years, the painting is simple and concise. Qi Baishi's painting has tended to stabilize, created a unique large freehand brushwork flowers and birds painting, breaking the traditional Chinese painting routine, he boldly used big red and green, The innovation in the painting of Qi Baishi and the relationship between the "five out of five Gui" and the painting innovation of Qi Baishi. Five trips to the far distance have improved Qi Baishi in the aspects of interpersonal communication, ideological realm and painting creation, etc. On this basis, this part is analyzed from the theory of painting innovation, the practice of painting innovation, and the theme of expression. Thus, the influence of Qi Baishi's "five out five Gui" tour on his painting innovation is brought forward. The distant tour affects the painting and innovation of Qi Baishi. It also gives inspiration to some contemporary painters who use "pictorial sketches" to create their works. His paintings, with their simple folk art style and traditional literati painting style, are intermingled with each other. It truly expresses the Chinese people's thoughts and feelings in the form of elegance and common appreciation, and reflects the new pursuit of artistic style in 20th century, which has reached the peak of modern and contemporary Chinese painting.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J212

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本文編號(hào)：1640753