本文選題：明代 + 花鳥(niǎo)畫　； 參考：《西北師范大學(xué)》2014年碩士論文

【摘要】：中國(guó)花鳥(niǎo)畫從中晚唐形成漸已成熟，且成為獨(dú)立的畫科，具體分為設(shè)色和水墨兩個(gè)畫科。五代初宋出現(xiàn)了“徐”“黃”異體，黃筌和徐熙的花鳥(niǎo)畫成為當(dāng)時(shí)花鳥(niǎo)界的主要流派，達(dá)到了新的高潮。在兩宋畫院，，工筆花鳥(niǎo)畫的發(fā)展也隨即發(fā)生了巨大的變化，提倡花鳥(niǎo)畫以工筆重彩為主，只有極少的一部分文人畫家還依然延續(xù)著水墨花鳥(niǎo)的傳統(tǒng)畫法。明代前期，院體花鳥(niǎo)畫也稱工筆重彩花鳥(niǎo)畫，在諸畫壇中占主導(dǎo)地位�；B(niǎo)的創(chuàng)作以畫院為中心，這時(shí)期畫院中花鳥(niǎo)畫的主要代表人物是邊文進(jìn)和呂紀(jì)。邊文進(jìn)為明初重要的宮廷花鳥(niǎo)畫家，做人非常豁達(dá)，好學(xué)且有極好的文采。他繼承南宋“院體”工筆重彩的傳統(tǒng)與技法，其作品干凈工整，清新雅麗，用筆細(xì)膩，色彩艷麗，高貴典雅。邊文進(jìn)所繪的《三友百禽圖》是其所有作品中最具有宮廷花鳥(niǎo)典型特色的杰作，成作于永樂(lè)十一年（1413年），現(xiàn)藏于臺(tái)北故宮博物院。作品畫風(fēng)技法精細(xì)并且富有很濃的裝飾味道，構(gòu)圖呈全滿式構(gòu)圖，非常茂密。畫面中同時(shí)出現(xiàn)了歲寒三友——松、竹、梅三種植物，還有一百只禽鳥(niǎo)。每只鳥(niǎo)都描繪的非常細(xì)致入微，姿態(tài)各異、栩栩如生：有槭枝鳴唱而不與嬉鬧者,有跳躍樹(shù)梢擇良木者,亦有葉下藏頭漏尾難收者……。眾鳥(niǎo)之中為勤者難于揮翅舞身,啄枯枝悠悠獨(dú)悅,那些潔鳥(niǎo)只顧梳理羽翼哪有心思去搭理周邊伙伴！如此百禽竟能各自為態(tài)，如若作者沒(méi)有非常仔細(xì)的觀察或著作者的觀察能力達(dá)不到一定的水準(zhǔn)，不具備精湛的畫畫技藝，就不可能創(chuàng)作出這一佳作。邊文進(jìn)是我喜愛(ài)的畫家之一，他的作品對(duì)我的學(xué)習(xí)和創(chuàng)作幫助極大。
[Abstract]:Chinese flower and bird painting has matured gradually in the late Tang Dynasty and has become an independent painting subject, which is divided into two painting sections: color painting and ink painting. "Xu" and "Huang" appeared in the early Song Dynasty. Huang Quan and Xu Xi's flower and bird paintings became the main schools of flower and bird circles at that time, and reached a new climax. In the two Song Dynasty, the development of fine brushwork flowers and birds painting also took place the huge change immediately, advocated the flower and bird painting to take the meticulous brushwork heavy color primarily, only a few literati painters still continue the traditional painting method of the ink flower and bird. In the early Ming Dynasty, the flower-and-bird painting in the courtyard was also called the meticulous brushwork flower and bird painting, which played a leading role in the painting world. The creation of flowers and birds centered on the painting institute, in which the main representatives of the flower and bird paintings were Bian Wenjin and Lu Ji. Bian Wenjin was an important flower and bird painter in the early Ming Dynasty. He was very open-minded, studious and excellent in literature. He inherits the tradition and technique of meticulous brushwork in Southern Song Dynasty, his works are clean and neat, fresh and elegant, exquisite with pen, brilliant in color, noble and elegant. The picture of three friends and hundred birds by Bian Wenjin is the most typical masterpiece of all his works with the typical characteristics of court flowers and birds. It was made in Yongle eleven years (1413) and is now hidden in the Palace Museum, Taipei. Fine style and rich decorative taste, composition is full-full composition, very dense. At the same time, three friends-pine, bamboo, plum three plants, and 100 birds. Each bird is described in a very detailed, varied manner, lifelike: there are maple branches singing rather than frolicking, there are hopping treetops to choose good wood, but also leaves hidden under the head and tail difficult to collect. Among all the birds, it is difficult for the diligent to dance their wings, pecking at the withered branches long and alone, and those clean birds who only care about combing their wings have the heart to attend to their companions around them! If the author does not have very careful observation or the author's observation ability can not reach a certain standard, without exquisite painting skills, it is impossible to create this masterpiece. Bian Wenjin is one of my favorite painters. His works are of great help to my study and creation.
【學(xué)位授予單位】：西北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 李雪松;;論邊景昭的花鳥(niǎo)畫藝術(shù)[J];美術(shù)向?qū)?2011年02期

2 趙琰哲;;明代宮廷花鳥(niǎo)畫中麻雀題材的流行及其原因[J];藝術(shù)教育;2009年03期

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