本文選題：朱瞻基 + 花鳥畫��； 參考：《淮北師范大學(xué)》2017年碩士論文

【摘要】：歷代帝王中雅好丹青的頗多,明代的第五位皇帝朱瞻基就是其中一位,但在畫史上為后人所熟知的卻僅是北宋的宋徽宗趙佶,朱瞻基的藝術(shù)才能卻容易被忽略。朱瞻基不僅在政治上是一位有作為的皇帝,在位期間出現(xiàn)了明代著名的“仁宣之治”的盛況,而且還是為杰出的帝王畫家,在中國繪畫史上是一位重要的人物。據(jù)明姜紹書《無聲詩史》一書中對朱瞻基的記載:“帝天藻飛翔,雅尚詞翰,尤精于繪事,凡山水人物花竹翎毛,無不臻妙”。可見朱瞻基對山水、人物、花鳥草蟲無所不能。從其流傳下來的存世作品來看,花鳥畫占據(jù)很大的比例,說明了他對花鳥畫一科的熱愛。他在花鳥畫方面取得的藝術(shù)成是毋庸置疑的,對花鳥畫的發(fā)展與成熟做出了一定的貢獻(xiàn)。他的繪畫雖屬院體畫風(fēng),卻突破了以往院體花鳥畫的工筆形態(tài),而是更加趨向粗放的寫意性。由于他對繪畫藝術(shù)的鐘愛與審美追求,也使明代院體畫開始呈現(xiàn)出多樣化的風(fēng)格面貌。如工筆重彩,沒骨設(shè)色,工寫結(jié)合,水墨寫意的不同形態(tài)。可以說他對后期寫意花鳥畫的發(fā)展起到了推波助瀾的作用,是中國寫意花鳥畫發(fā)展歷程中的一個(gè)關(guān)鍵性人物。本文重點(diǎn)論述朱瞻基的花鳥畫藝術(shù),主要從以下幾個(gè)方面來分析。首先探討了他的生平,具體闡述了他的早期成長經(jīng)歷與其接受的特殊的皇家教育方式與此后的帝王生涯,并分析這些因素與他的繪畫藝術(shù)之間的關(guān)聯(lián)性。接著分析了他的花鳥畫藝術(shù)風(fēng)格,主要從繪畫語言特色和審美特征兩方面來論述。然后進(jìn)一步分析這種繪畫風(fēng)格形成的因素,主要從主客觀兩方面展開討論,客觀方面從他所處的社會文化背景,師承淵源,及朱元璋審美觀延續(xù)的影響來論述。主觀方面從他自身的個(gè)性特征和深厚的文化修養(yǎng)進(jìn)行分析。然后又將他與歷史上著名的帝王花鳥畫藝術(shù)進(jìn)行比較,進(jìn)一步說明他的藝術(shù)特征。最后闡述了他的花鳥畫對后世的影響,一方面是對明代繪畫的影響,另一方面是對現(xiàn)代花鳥畫創(chuàng)作產(chǎn)生的啟示。
[Abstract]:There are many emperors in history, among them Zhu Zhiji, the fifth emperor of Ming Dynasty, is known only to the Song Huizong Zhao Ji in the history of painting, but his artistic ability is easy to be ignored. Zhu Qianji was not only a political emperor, but also an important figure in the history of Chinese painting. According to the Ming Dynasty Jiang Shao book "A History of Silent Poems," Zhu Qiangji was recorded: "Emperor Tianzao flies, elegant still ci Han, especially good at drawing things, all landscape figures flower bamboo feathers, all wonderful." It can be seen that Zhu Qiangji is omnipotent to mountains and rivers, people, flowers, birds and insects. According to his surviving works, flower-and-bird painting occupies a large proportion, which shows his love for a subject of flower-and-bird painting. His artistic achievements in flower-and-bird painting are beyond doubt, and he has made some contributions to the development and maturity of flower-and-bird painting. Although his painting belongs to the style of the courtyard style, it breaks through the traditional style of fine brushwork of the flower and bird painting, but tends to extensive freehand brushwork. Because of his love for painting art and aesthetic pursuit, it also began to show a variety of styles of painting in Ming Dynasty. Such as fine brushwork color, no bone color, the combination of work and ink brushwork, different forms of freehand brushwork. It can be said that he played an important role in the development of freehand brushwork, and was a key figure in the development of Chinese freehand brushwork. This paper focuses on Zhu Zhiji's flower-and-bird painting art, mainly from the following aspects to analyze. First of all, it discusses his life, expounds his early growing up experience, his special royal education and his later imperial career, and analyzes the correlation between these factors and his painting art. Then it analyzes his artistic style of flower and bird painting, mainly from two aspects of painting language characteristics and aesthetic characteristics. Then it further analyzes the factors of the formation of this painting style, mainly from the subjective and objective aspects of the discussion, and objectively from his social and cultural background, the origin of the teacher, and the impact of the continuation of Zhu Yuanzhang aesthetic. Subjective aspects from his own personality characteristics and profound cultural training to analyze. Then compare him with the famous imperial flower and bird painting art to further explain his artistic characteristics. At last, it expounds the influence of his flower-and-bird painting on the later generations, on the one hand, on the Ming Dynasty painting, on the other hand, on the inspiration to the creation of modern flower-and-bird painting.
【學(xué)位授予單位】：淮北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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