本文選題：晚明 + 陳洪綬　； 參考：《山西師范大學(xué)》2014年碩士論文

【摘要】：陳洪綬是明末清初的人物畫大師，其藝術(shù)上追求高古奇駭，變形怪誕的風(fēng)格，近年來受到眾多學(xué)者的重視，將其作為研究對象有極大的理論和現(xiàn)實(shí)意義。本文在前人研究的基礎(chǔ)上，探討了陳洪綬的時(shí)代背景和創(chuàng)作生涯，剖析了陳洪綬人物畫的變異風(fēng)格和時(shí)代精神，以及其對后世繪畫的影響，揭示了陳洪綬人物畫藝術(shù)特色和晚明社會(huì)文化的內(nèi)在關(guān)聯(lián)。 陳洪綬人物畫變異風(fēng)格的形成一方面源于對個(gè)人價(jià)值的肯定和認(rèn)同，，另一方面也是社會(huì)因素使然。陳洪綬終生未仕，一生致力于書畫藝術(shù)，而其又生活于一個(gè)商品經(jīng)濟(jì)高度繁榮，政治卻極為動(dòng)蕩的時(shí)代。其人物畫淵源于前代技法，又受到同代畫家群體的影響，同時(shí)也從中國民間年畫、壁畫和剪紙藝術(shù)中吸取營養(yǎng)，題材主要涉及名人賢哲、侍女、佛道人物等。其人物畫的藝術(shù)特點(diǎn)有：擅長幾何化造型和強(qiáng)烈頭大小對比；人物畫線條圓轉(zhuǎn)柔折、隨意揮灑，顯得高古雋雅；構(gòu)圖的特點(diǎn)為虛實(shí)結(jié)合，藏露相宜。究其時(shí)代精神，明末“空疏”的士林風(fēng)氣，士人自甘墮落，倡導(dǎo)行樂主義，但又深入民間下層社會(huì)，客觀豐富了士人創(chuàng)作的題材和境界；陽明心學(xué)的流行，掀起了晚明社會(huì)思想解放和個(gè)性獨(dú)立的風(fēng)潮，對士人思想影響很大；晚明文人雅文化和俗文化之間的合流，也對陳洪綬的人物畫產(chǎn)生深遠(yuǎn)影響。陳洪綬的人物畫兼具文人畫的古拙、明麗、法度、高雅，又融合了民間人物畫的寫意特點(diǎn)，給明末清初的人物畫壇帶來了一股新風(fēng)。陳洪綬作為人物畫壇的一個(gè)標(biāo)志，形成了由門人弟子組成的創(chuàng)作群體。本文最后分析了陳洪綬人物畫的影響，其對江南地區(qū)揚(yáng)州八怪和海上畫派，以及現(xiàn)代的藝術(shù)大師，如謝稚柳、傅抱石、程十發(fā)等都有巨大影響。 在晚明商品經(jīng)濟(jì)發(fā)達(dá)、思潮多元、自由的文化氛圍中，出現(xiàn)了陳洪綬這樣風(fēng)格獨(dú)特的藝術(shù)大師，而陳洪緩的人物畫也從一個(gè)側(cè)面反映著當(dāng)時(shí)的文化與思想潮流。本文力圖從晚明的社會(huì)文化背景探究陳洪綬人物畫變異風(fēng)格形成的原因，試圖通過對陳洪綬人物畫的藝術(shù)分析來了解陳洪綬人物畫所具有的深刻時(shí)代精神和文化背景。
[Abstract]:Chen Hongshou is a figure painting master in the late Ming Dynasty and early Qing Dynasty, whose artistic pursuit of high ancient and strange, deformed and grotesque style has been paid attention by many scholars in recent years, and it has great theoretical and practical significance as the object of study. On the basis of previous studies, this paper discusses the background and creative career of Chen Hongshou, analyzes the variation style and spirit of Chen Hongshou's figure painting, and its influence on the painting of later generations. It reveals the inner relation between the artistic characteristics of Chen Hongshou figure painting and the social culture of the late Ming Dynasty. The formation of the variant style of Chen Hongshou figure painting originates from the affirmation and recognition of personal value, on the other hand, it is caused by social factors. Chen Hongshou was devoted to painting and calligraphy all his life and lived in an era of highly prosperous commodity economy and extremely turbulent politics. Its figure painting originated from the techniques of the previous generation, and was influenced by the same generation of painters. At the same time, it also drew nutrients from Chinese folk New year paintings, murals and paper-cut art. The subject matter mainly involved celebrities and philosophers, waitresses, Buddhist and Taoist figures and so on. The artistic characteristics of its figure painting are: good at geometric modeling and strong head size contrast; figure painting lines round and flexible, free sprinkling, appear high ancient Jun elegant; composition of the characteristics of the combination of reality, suitable to hide. The spirit of the times shows that in the late Ming Dynasty, the "empty and sparse" Scholars were willing to fall and advocated the practice of music, but they also went deep into the lower folk society, which objectively enriched the subjects and realms of the scholars' creation, and the popularity of Yangming's study of the mind, The social ideological emancipation and personality independence of the late Ming Dynasty had a great influence on the thought of scholars, and the combination of elegant culture and vulgar culture in the late Ming Dynasty also had a profound impact on Chen Hongshou's figure painting. The figure painting of Chen Hongshou has the ancient clumsy, bright, legal, elegant, and combines the freehand brushwork characteristics of the folk figure painting, which brings a new wind to the figure painting world in the late Ming and early Qing Dynasty. Chen Hongshou, as a symbol of character painting, formed a creative group composed of disciples. Finally, this paper analyzes the influence of Chen Hongshou figure painting, which has great influence on Yangzhou eight strange and sea painting schools in the south of the Yangtze River, as well as modern masters of art, such as Xie Zhiliu, Fu Baoshi, Cheng Shifa and so on. In the cultural atmosphere of the late Ming Dynasty, in which the commodity economy was developed, the trend of thought was diverse and free, there appeared such unique artistic masters as Chen Hongshou, and Chen Hong's gentle figure painting also reflected the cultural and ideological trend of that time from one side. This paper tries to explore the causes of the variant style of Chen Hongshou figure painting from the social and cultural background of the late Ming Dynasty, and tries to understand the profound spirit of the times and the cultural background of Chen Hongshou figure painting through the artistic analysis of Chen Hongshou figure painting.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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本文編號(hào)：1881956