本文選題：寫意 + 工筆�。� 參考：《江西科技師范大學(xué)》2013年碩士論文

【摘要】：中國的花鳥畫藝術(shù)，有著深厚的民族文化內(nèi)涵。寫意花鳥畫是中國人用傳統(tǒng)繪畫語言“筆墨”描寫個(gè)體對藝術(shù)意象的審美追求，是民族傳統(tǒng)優(yōu)秀藝術(shù)，，東方繪畫獨(dú)特表現(xiàn)形式之一。 我們今天所稱的傳統(tǒng)工筆花鳥畫是宋代院體勾勒、渲染、填彩派的延續(xù)。其畫法可分淡彩與重彩。淡彩，是指用有意味的工致線條造型，淡墨敷染，并罩淡彩水色，取得雅淡、清新、幽逸的效果。重彩，則在淡彩的基礎(chǔ)上，賦上有復(fù)合能力的重彩色調(diào)，使對象有厚重、輝煌、富麗的感覺。 中國寫意花鳥畫從明徐渭到清八大山人，直至發(fā)展到近現(xiàn)代潘天壽等大家已取得了輝煌的藝術(shù)成就，對現(xiàn)代工筆花鳥畫創(chuàng)作有極佳的借鑒作用。
[Abstract]:The art of flower and bird painting in China has profound national cultural connotation. Freehand flower-and-bird painting is a Chinese traditional painting language "brush and ink" to describe the individual aesthetic pursuit of artistic image, is a national traditional excellent art, one of the unique forms of Oriental painting. What we call traditional flower-and-bird paintings today is a continuation of the Song Dynasty style of painting, rendering and filling. Its painting method can be divided into light color and heavy color. Light color, refers to the use of meaningful industrial line modeling, light ink dye, and cover light color water color, to achieve elegant, fresh, quiet effect. Heavy color, on the basis of light color, on the complex ability of the heavy color tone, so that the object has a thick, brilliant, rich feeling. Chinese freehand brushwork flower-and-bird painting from Ming Xu Wei to Qing eight mountain people, until the development of modern Pan Tianshou and other people have made brilliant artistic achievements, which has a very good reference for modern fine brushwork flower-and-bird painting creation.
【學(xué)位授予單位】：江西科技師范大學(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3條

1 馬鴻增;;論“江蘇工筆花鳥畫派”[J];國畫家;2006年06期

2 竺濟(jì)法;;潘天壽指墨茶畫稱絕響[J];茶博覽;2010年03期

3 劉志閣,鄭躍麗;小議花鳥畫的構(gòu)圖[J];美與時(shí)代;2003年08期

本文編號：2010376