發(fā)布時(shí)間：2018-04-27 04:21

  本文選題：清代碑學(xué) + 吳昌碩　； 參考：《曲阜師范大學(xué)》2014年碩士論文

【摘要】：清代晚期，社會(huì)局勢(shì)動(dòng)蕩不安，復(fù)雜的社會(huì)文化背景及其經(jīng)濟(jì)、政治等各種主客觀因素推動(dòng)了書(shū)法審美思潮的改變并促進(jìn)了清代碑學(xué)的偉大復(fù)興。由于帖學(xué)自身發(fā)展的局限性，清代碑學(xué)以其自身優(yōu)勢(shì)取代了盛行已久的帖學(xué)書(shū)風(fēng)。清代碑學(xué)，這個(gè)與傳統(tǒng)帖學(xué)相左的藝術(shù)形式一時(shí)大興。受清代碑學(xué)審美思潮的影響，為了順應(yīng)時(shí)代的潮流、迎合受眾的審美趣向，諸位藝壇大家開(kāi)始紛紛棄帖臨碑。于是，中國(guó)書(shū)法的審美思想體系發(fā)生巨變，碑學(xué)書(shū)法以其厚重、樸拙的審美風(fēng)格交替取代了帖學(xué)書(shū)法審美的清淡、雅逸。自古以來(lái)的書(shū)畫(huà)理論和實(shí)踐證明了書(shū)法與繪畫(huà)之間的密切關(guān)系，繪畫(huà)領(lǐng)域敏感地回應(yīng)著書(shū)法領(lǐng)域的變化。吳昌碩，作為近代中國(guó)畫(huà)壇具有開(kāi)創(chuàng)性業(yè)績(jī)的藝術(shù)大師，將碑學(xué)書(shū)法的審美思想成功地運(yùn)用到中國(guó)傳統(tǒng)繪畫(huà)中。他站在歷史的交點(diǎn)上匯聚了傳統(tǒng)的魅力和所處時(shí)代的時(shí)代精神，形成了自己獨(dú)創(chuàng)性的繪畫(huà)風(fēng)格。這種借鑒和再創(chuàng)造不僅大大地拓展了中國(guó)傳統(tǒng)繪畫(huà)筆墨語(yǔ)言等藝術(shù)的表現(xiàn)形式，更將其延伸到了精神層面。吳昌碩“以書(shū)入畫(huà)”的成功實(shí)踐對(duì)中國(guó)傳統(tǒng)繪畫(huà)的發(fā)展起到了推波助瀾的作用，并在今天仍有著非常重要的研究意義。 本篇論文分為三個(gè)大的組成部分：文章第一大部分重點(diǎn)概述清代碑學(xué)并提出論點(diǎn)，，闡述梳理清代碑學(xué)的發(fā)展及其理論的提出過(guò)程與清代碑學(xué)審美思潮的轉(zhuǎn)變及其原因。第二大部分重點(diǎn)闡述清代碑學(xué)審美思潮的轉(zhuǎn)變對(duì)吳昌碩書(shū)風(fēng)畫(huà)風(fēng)的影響。在這一部分，我首先將吳昌碩所處時(shí)代的復(fù)雜社會(huì)背景和吳昌碩的生平經(jīng)歷分成早、中、晚年三個(gè)時(shí)期進(jìn)行簡(jiǎn)單介紹，為下文做鋪墊；然后分別從書(shū)法的筆法、墨法、章法和氣韻等四個(gè)部分詳細(xì)分析碑學(xué)書(shū)風(fēng)影響下的吳昌碩書(shū)法；最后，我將重點(diǎn)專(zhuān)注于剖析碑學(xué)審美思潮影響下的吳昌碩繪畫(huà)，從“氣”和“勢(shì)”方面、筆墨轉(zhuǎn)換方面、用色方面、造型和構(gòu)圖方面以及從題跋和金石入畫(huà)等方面探究碑學(xué)書(shū)風(fēng)對(duì)吳昌碩繪畫(huà)的影響然后證明論點(diǎn)，這一小部分是這一章的重點(diǎn)，也是本文的重點(diǎn)。文章第三大部分作為本篇論文的總結(jié)，分析吳昌碩“引書(shū)入畫(huà)”對(duì)中國(guó)傳統(tǒng)繪畫(huà)的巨大影響及現(xiàn)實(shí)意義。
[Abstract]:In the late Qing Dynasty, the social situation was unstable, complicated social and cultural background, economy, politics and other subjective and objective factors promoted the change of aesthetic trend of thought in calligraphy and promoted the great revival of tablet study in Qing Dynasty. Due to the limitation of its own development, the tablet study of Qing Dynasty replaced the popular style of calligraphy with its own advantages. Tablet study in the Qing Dynasty, this art form contrary to the traditional study of the art was popular for a while. Influenced by the aesthetic trend of tablet study in the Qing Dynasty, in order to conform to the trend of the times and cater to the aesthetic interest of the audience, everyone in the art circle began to abandon the tablet. As a result, the aesthetic thought system of Chinese calligraphy has changed dramatically, and tablet calligraphy has replaced the delicate and elegant aesthetic style of post calligraphy with its thick and sincere aesthetic style. The theory and practice of calligraphy and painting since ancient times have proved the close relationship between calligraphy and painting, and the field of painting sensitively responds to the changes in the field of calligraphy. Wu Changshuo, as an art master with pioneering achievements in modern Chinese painting, successfully applied the aesthetic thought of tablet study and calligraphy to Chinese traditional painting. Standing at the intersection of history, he converged the traditional charm and the epoch spirit of his time, and formed his own original painting style. This kind of reference and re-creation has not only greatly expanded the expression forms of Chinese traditional painting, brush and ink language, but also extended it to the spiritual level. Wu Changshuo's successful practice of "entering painting with Books" has played an important role in the development of Chinese traditional painting, and still has a very important research significance today. This paper is divided into three major parts: the first part of the article focuses on the introduction of the Qing Dynasty tablet study and put forward the argument, and expounds the development of the Qing Dynasty tablet study and the development of the theory and the change of aesthetic trend of thought of the Qing Dynasty tablet study and its reasons. The second part focuses on the influence of the change of aesthetic trend of tablet study on Wu Changshuo's style of calligraphy and painting. In this part, I first divided the complex social background of Wu Changshuo era and Wu Changshuo's life experience into early, middle and late years to make a brief introduction for the following; then from the calligraphy method, ink method, I will focus on the analysis of the Wu Changshuo painting under the influence of the aesthetic trend of tablet studies, from the aspects of "Qi" and "potential", and from the aspects of pen and ink conversion, I will focus on the analysis of Wu Changshuo calligraphy under the influence of the style of calligraphy and calligraphy. In terms of color, shape and composition, and from the aspects of inscriptions and inscriptions, the influence of calligraphy style on Wu Changshuo painting is explored, and then the argument is proved. This small part is the focus of this chapter and is also the focus of this paper. The third part is a summary of this paper, analyzing Wu Changshuo's great influence on Chinese traditional painting and its practical significance.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 張凱英;;淺談中國(guó)畫(huà)的構(gòu)圖特征[J];雁北師范學(xué)院學(xué)報(bào);2006年04期

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