本文選題：惲南田 + 山水��； 參考：《浙江大學(xué)》2015年碩士論文

【摘要】：在中國繪畫史上,山水畫和花鳥畫獨立成科以后,它們之間相互借鑒、滲透。繼而,介于山水和花鳥之間的作品也屢見不鮮。本文通過對歷代此類作品的梳理,筆者發(fā)現(xiàn)這些作品雖然有相互借鑒融合的跡象,但是,直至明末清初,惲南田自發(fā)樞機,明確提出了將山水與花鳥融合的畫法,并有意識地付諸實踐。本文分析了惲南田的傳世作品和畫論,其中有很多作品帶有將山水花鳥融合的探索意味,他既在花鳥畫中運用了傳統(tǒng)的山水樹石法和斷云的處理手法,也在水墨山水中獨創(chuàng)花鳥形式的以色寫竹法等。同時他的題跋、畫論等亦多有這方面的體現(xiàn)。本文從惲南田對枯木竹石以及傳統(tǒng)山水、花鳥的師承和其自身重視寫生與創(chuàng)新的繪畫思想等幾個方面,對他的這種介于山水和花鳥之間的繪畫做了詳細(xì)分析和追溯,探析惲南田此類繪畫的表現(xiàn)形式和原因。
[Abstract]:In the history of Chinese painting, landscape painting and flower-and-bird painting became an independent family, they learn from each other and permeate each other. Then, between the landscape and flowers and birds between works are also common. By combing the works of the past dynasties, the author finds that although there are signs of mutual reference and fusion of these works, Yun Nantian spontaneously cardinally put forward the painting method of merging landscape with flowers and birds until the late Ming and early Qing dynasties. And consciously put it into practice. In this paper, Yun Nantian's works and painting theory are analyzed. Many of his works have the meaning of exploring the fusion of landscape, flowers and birds. He not only uses the traditional methods of landscape, tree, stone and cloud breaking in his flower-and-bird paintings, Also in the ink landscape in the original form of flowers and birds with color to write bamboo and so on. At the same time, his postscript, painting theory and so on also have this aspect embodiment. In this paper, Yun Nantian makes a detailed analysis and tracing back to this kind of painting between mountains and rivers and flowers and birds from several aspects, such as dead wood, bamboo and stone, traditional mountains and rivers, flowers and birds, their teachers' inheritance and their own emphasis on sketching and innovating painting ideas. Analysis of Yun Nantian this kind of painting expression form and reason.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

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2 陳友祥;;論惲南田沒骨畫師承關(guān)系及藝術(shù)特色[J];邢臺學(xué)院學(xué)報;2012年02期

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本文編號：1914315