本文選題：石濤 + 蘭竹畫��； 參考：《南京師范大學(xué)》2013年碩士論文

【摘要】：石濤是我國清初畫壇最具影響力的畫家之一。他的畫筆意縱恣、奇肆豪放、不同時流、面貌多變,極具獨(dú)創(chuàng)性。 石濤久負(fù)盛名的繪畫作品中,除山水畫外,花鳥畫中以蘭竹畫成就為最。本文試圖研究石濤不同時期的蘭竹畫風(fēng)格特點(diǎn)并總結(jié)其畫風(fēng)流變：早期主要為白描雙鉤一路,畫面淡雅靜穆；中期以墨筆為主,畫面清峻挺拔,渾厚華滋；晚期以大寫意水墨為主,筆墨縱恣,水墨淋漓。之后筆者試圖探尋石濤每個時期蘭竹畫風(fēng)格特點(diǎn)背后的理論支撐,即石濤的繪畫創(chuàng)作觀對其蘭竹畫的指導(dǎo)：早期主要以兼師造化與傳統(tǒng)為主,中期是從“我自用我法”到“不立一法”、“不舍一法”的過渡,以及后期的“無法而法”觀。最后,以鄭燮為個例闡述石濤獨(dú)特的畫風(fēng)和極具創(chuàng)造性的繪畫思想對“揚(yáng)州八怪”蘭竹畫產(chǎn)生的巨大影響。
[Abstract]:Shi Tao is one of the most influential painters in the early Qing Dynasty. His brushwork is unrestrained, varied, and original. Shi Tao's long-standing paintings, in addition to landscape painting, flowers and birds painting the most achievements in blue and bamboo painting. This paper attempts to study the characteristics of Shi Tao's style of orchid and bamboo painting in different periods and sum up the changes of his painting style: in the early stage, the painting was mainly composed of white drawing and double hook, the picture was elegant and quiet, the middle period was dominated by ink brushes, the picture was clear and steep and straight, and the painting was full of huazzi; In the late period with big freehand brushwork ink, pen and ink vertical, ink dripping. Then the author tries to explore the theoretical support behind the style characteristics of Shi Tao's orchid and bamboo paintings in each period, that is, Shi Tao's view of painting creation guides his blue bamboo painting: in the early stage, he mainly focused on the combination of teachers' creation and tradition. The middle period is the transition from "I use my own law" to "not making a law", "not to give up one law", and later "can not but law" view. Finally, taking Zheng Xie as an example, this paper expounds the great influence of Shi Tao's unique painting style and extremely creative painting thought on the orchid and bamboo paintings in Yangzhou.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 曹桂生;石濤有法與無法論辯[J];西北美術(shù);1996年03期

，

本文編號：1929991