本文選題：徐熙畫派　切入點(diǎn)：寫意花鳥畫　出處：《西安美術(shù)學(xué)院》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：花鳥畫發(fā)展至今，已有千余年的歷史，是中國(guó)傳統(tǒng)繪畫中最重要的一個(gè)分支，唐代中國(guó)繪畫理論體系的形成，給花鳥畫的發(fā)展奠定了堅(jiān)實(shí)的理論基礎(chǔ)，五代時(shí)期徐熙在師法自然和體驗(yàn)生活的思想基礎(chǔ)上首開了“非畫之本法”的繪畫“逸品”，以“野逸”花鳥畫確立了隱逸繪畫重水墨、造型崇尚寫實(shí)豐滿的花鳥畫特點(diǎn)，他的“天水通色”的繪畫技法在花鳥畫技法史上有極其重要的地位。從某種意義上來(lái)講，徐熙畫派是引領(lǐng)著中國(guó)花鳥畫發(fā)展的步伐，從中國(guó)古老的文化傳統(tǒng)淵源中逐步走來(lái)。 徐熙畫派對(duì)后世中國(guó)花鳥畫的發(fā)展有著深遠(yuǎn)的影響，主要表現(xiàn)在：一、以“外師造化、中得心源”為基礎(chǔ)，“注重寫生”成為后世共識(shí)并延續(xù)至今。二、以追求野逸精神和水墨視覺(jué)，逐步成為宋以后清野放逸的文人畫主題，而被視為花鳥畫創(chuàng)新之祖。三、徐熙畫派“落墨為格”、“放筆寫意”的技法和繪畫風(fēng)格，對(duì)元代相互融合的逸筆花鳥畫產(chǎn)生了深遠(yuǎn)的影響。四、其中文人畫的發(fā)展，奠定了明代寫意花鳥畫的基礎(chǔ)。那種不墨守成規(guī)的創(chuàng)新精神融匯了文人思想，成熟了寫意花鳥畫的理論，開創(chuàng)和樹立了繪畫史上明清時(shí)代寫意花鳥畫的高峰。五、徐熙畫派“借物比興”、“緣物寄情”的美學(xué)意象和哲學(xué)內(nèi)涵，推動(dòng)了明清之際中國(guó)花鳥畫對(duì)意境美的表現(xiàn)和追求。 徐熙畫派是中國(guó)花鳥畫發(fā)展史上的重要的衍生畫派，其獨(dú)特的思想和技法風(fēng)格促成了花鳥畫的獨(dú)特風(fēng)貌。筆者嘗試梳理中國(guó)傳統(tǒng)花鳥畫的表現(xiàn)意識(shí)和技法，在其根源上，理清其發(fā)展脈絡(luò)、繪畫風(fēng)格和對(duì)后世的主要影響，并就當(dāng)代中國(guó)花鳥畫發(fā)展中對(duì)徐熙的繼承和發(fā)展做進(jìn)一步的剖析，由此延伸，，對(duì)現(xiàn)代中國(guó)花鳥畫的繪畫創(chuàng)作和發(fā)展有一定的現(xiàn)實(shí)意義。
[Abstract]:The development of flower-and-bird painting has a history of more than a thousand years, and it is the most important branch of Chinese traditional painting. The formation of the theoretical system of Chinese painting in Tang Dynasty has laid a solid theoretical foundation for the development of flower-and-bird painting. During the five dynasties, Xu Xi, on the basis of the thought of learning from nature and experience life, first opened the painting "easy goods" of "the law of non-painting", and established the characteristics of recluse painting with heavy ink painting and advocating realistic and plump flower-and-bird painting with "wild and easy" flower-and-bird painting. In a sense, Xu Xi's painting style led the development of Chinese flower and bird painting, and gradually came from the ancient cultural tradition of China. The painting technique of his painting "Tianshui through Color" plays an extremely important role in the history of flower-and-bird painting techniques in the history of flower-and-bird painting, in a sense, Xu Xi's painting school leads the pace of the development of Chinese flower-and-bird painting. Xu Xi's painting school has a profound influence on the development of Chinese flower-and-bird painting in later generations. First, on the basis of "the outside teacher made it, and the heart source", "pay attention to sketching" has become the consensus of later generations and has continued to this day. In pursuit of the spirit of wild life and the vision of ink and wash, it gradually became the theme of literati painting in Qing Ye Yi after Song Dynasty, and was regarded as the ancestor of the innovation of flower-and-bird painting. Third, the techniques and painting style of Xu Xi's painting school of "putting ink into style" and "putting pen into freehand brushwork". Four, the development of literati painting laid the foundation of freehand brushwork of flower and bird painting in Ming Dynasty. Mature the theory of freehand brushwork flower and bird painting, and set up the peak of freehand brushwork and bird painting in Ming and Qing dynasties. It promotes the performance and pursuit of artistic conception in Chinese flower and bird painting in Ming and Qing dynasties. Xu Xi painting school is an important derivative painting school in the history of the development of Chinese flower and bird painting, its unique thought and technique style have contributed to the unique style and features of the flower and bird painting. The author tries to sort out the performance consciousness and technique of the Chinese traditional flower and bird painting, and at its root, the author tries to sort out the performance consciousness and technique of the Chinese traditional flower and bird painting. To clarify its development context, painting style and the main impact on later generations, and to make a further analysis of the inheritance and development of Xu Xi in the development of contemporary Chinese flower and bird painting, thus extending, It has certain realistic significance to the painting creation and development of modern Chinese flower and bird painting.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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本文編號(hào)：1645968