本文選題：薛稷 + 書畫藝術(shù)��； 參考：《山西大學(xué)》2013年碩士論文

【摘要】：薛稷為初唐書法家,畫家。他出生于官宦世家,這種優(yōu)越的家庭環(huán)境為他的成才奠定了基礎(chǔ)。薛稷外祖父魏征家富收藏虞世南、褚遂良等書家書跡,他銳精臨習(xí),后形成自己的書法特色,因其書法瘦勁,被后世譽為“唐初四家”之一；其繪畫善畫花鳥、人物、雜畫,尤以畫鶴著稱,因其畫鶴出眾,后人談畫鶴必稱稷。他在書畫發(fā)展方面做出了重要貢獻�；谶@樣一位身份特殊,貢獻卓越的歷史人物,本文將運用文獻學(xué)、圖像學(xué)、比較分析等方法對薛稷的書畫藝術(shù)及其影響進行研究。 對于薛稷的書法研究主要從他的楷書方面進行,以其早期的《升仙太子碑陰題》、晚期成熟的《信行禪師碑》為研究對象,從其師承關(guān)系、書法藝術(shù)特點等方面進行研究。繪畫重點從薛稷最擅畫的鶴題材談起,主要從文獻著手探討其繪畫特點,進而論述薛稷的書畫藝術(shù)影響。研究表明,薛稷的瘦硬體影響了宋徽宗的“瘦金體”,而瘦金體又影響了此后眾多書家,形成了一種書體脈絡(luò)的延續(xù)發(fā)展；薛稷以其畫鶴專長影響了唐代的蒯廉,五代的黃筌,黃筌又影響了各代鶴題材的畫家和學(xué)習(xí)者,對當時宮廷繪畫(主要是畫鶴方面)也形成一種傳遞式的影響。從這種大跨度的鏈條式影響角度來看,薛稷的書畫藝術(shù)對當時以及后代書畫藝術(shù)的發(fā)展產(chǎn)生了較為深遠的影響。 本文的創(chuàng)新點重在盡可能全面地揭示薛稷在歷史中的地位和作用。以此彌補當今書畫史對于薛稷的藝術(shù)認知在不同程度上的缺失。
[Abstract]:Xue Ji was a calligrapher and painter in the early Tang Dynasty. He was born in the official family, this superior family environment for his talent laid the foundation. Xue Ji's grandfather, Wei Zheng, was a rich collector of calligraphers such as Yu Shinan, Chu Suiliang, and so on. He was keen to learn and later formed his own calligraphy characteristics. He was praised as one of the "four families in the early Tang Dynasty" for his thin calligraphy, and his paintings were good at painting flowers and birds, characters, and miscellaneous paintings. Especially famous for painting cranes, because of their paintings of cranes outstanding, future generations of painting cranes must be called grass. He made important contributions to the development of painting and calligraphy. Based on such a special identity and outstanding contribution of historical figures, this paper will use philology, graphics, comparative analysis and other methods to study Xue Ji's calligraphy and painting art and its influence. The study of Xue Ji's calligraphy is mainly carried out from his regular script, taking his early title of the Prince of the ascendant and the late mature tablet of Xinxing Zen Master as the object of study, from the aspects of his teacher-bearing relationship, the characteristics of calligraphy art, and so on. The focus of painting is from the subject matter of the crane that Xue Ji is the most good at painting, and mainly discusses the characteristics of his painting from the literature, and then discusses the influence of Xue Ji's calligraphy and painting art. The study shows that Xue Ji's thin hardware influenced the "thin gold body" of the Song Huizong, and the thin gold body influenced many calligraphers since then, forming a continuation and development of the style of calligraphy; Xue Ji influenced Kuai Lian in the Tang Dynasty and Huang Quan in the five dynasties with his expertise in painting cranes. Huang Quan also influenced the artists and learners of various generations of cranes, and also formed a kind of transmission influence on court paintings (mainly on the painting of cranes) at that time. From the perspective of this kind of long span chain influence, Xue Ji's painting and calligraphy art had a profound influence on the development of painting and calligraphy art at that time and later generations. The innovation of this paper is to reveal the position and function of Xue Ji in history as comprehensively as possible. In order to make up for the contemporary calligraphy and painting history of Xue Ji's artistic cognition in varying degrees.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前4條

1 王靜;;節(jié)愍太子墓《升仙太子圖》考——兼論薛稷畫鶴的時代背景[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2007年04期

2 陳霞;吐魯番屏式壁畫所見唐人的精神生活[J];兵團教育學(xué)院學(xué)報;2002年03期

3 薛海麗;;薛稷的故里與家世[J];美術(shù)大觀;2008年03期

4 張志攀;;薛稷詩書畫評析[J];浙江師范大學(xué)學(xué)報;2005年05期

，

本文編號：1911693