本文選題：任伯年 + 粉彩花鳥(niǎo)畫　； 參考：《西南大學(xué)》2015年碩士論文

【摘要】：任頤(1840—1896),浙江山陰人,字伯年,號(hào)次遠(yuǎn),原名小屬,初名潤(rùn),是海上畫派的代表人物,擅長(zhǎng)人物、花鳥(niǎo)和山水,是位全能型的畫家。與吳昌碩、虛谷、蒲華并稱“清末海派四杰”。任伯年粉彩花鳥(niǎo)畫風(fēng)格獨(dú)特,技法精到,他所涉及到的領(lǐng)域十分廣泛,工筆、沒(méi)骨、寫意樣樣精通,在繼承傳統(tǒng)畫法的同時(shí),又吸收西畫、日本畫的用色方法,通過(guò)不斷的嘗試與練習(xí),最終形成他個(gè)人的獨(dú)特畫貌。對(duì)后世的畫壇產(chǎn)生深遠(yuǎn)的影響,也對(duì)本人的粉彩花鳥(niǎo)畫學(xué)習(xí)有很大的啟發(fā)。本論文的撰寫主要分為以下四個(gè)部分：第一部分主要做文獻(xiàn)綜述的研究,包括本選題研究緣由、文獻(xiàn)綜述、研究對(duì)象及核心概念的界定、主要研究方法及意義等；第二部分主要是任伯年粉彩花鳥(niǎo)畫風(fēng)格概述及其成因分析；第三部分為任伯年粉彩花鳥(niǎo)畫技法的研究,分別從任伯年粉彩花鳥(niǎo)畫中運(yùn)用到的粉彩渲染法、撞水撞粉法、粉彩點(diǎn)寫法、勾勒填粉法、用粉勾筋法、襯托法這幾種技法進(jìn)行具體的解讀,并舉例分析；第四部分是任伯年粉彩花鳥(niǎo)畫對(duì)后世的影響及當(dāng)代啟示。其中第二和第三部分是本論文的研究重點(diǎn)。本人通過(guò)對(duì)任伯年相關(guān)資料的收集和整理,發(fā)現(xiàn)近些年來(lái)研究任伯年繪畫藝術(shù)的文章極其豐富,在對(duì)其研究的文獻(xiàn)中專門針對(duì)任伯年粉彩花鳥(niǎo)畫的研究甚少,多數(shù)資料中雖有涉及,也只是零星論述,缺乏專題研究,沒(méi)有系統(tǒng)的針對(duì)這一點(diǎn)進(jìn)行闡述。任伯年在各個(gè)時(shí)期的繪畫作品幾乎都完整的保留了下來(lái),這是一筆寶貴的財(cái)富,值得后人去認(rèn)真的臨摹學(xué)習(xí),也給我們研究他的繪畫技法提供了豐富的資源,因此該論題十分有研究的價(jià)值和意義。該論文希望通過(guò)對(duì)任伯年粉彩花鳥(niǎo)畫的解讀與分析,使大家更加全面的了解任伯年及其精湛的用粉技法,激起大家對(duì)粉彩花鳥(niǎo)畫的學(xué)習(xí)興趣,希望對(duì)今后的學(xué)者們研究任伯年的繪畫藝術(shù)起到一定的幫助、參考作用,同時(shí)也可以使本人提高繪畫技法,從而推動(dòng)促進(jìn)小寫意花鳥(niǎo)畫的學(xué)習(xí)和創(chuàng)作。
[Abstract]:Ren Yi (1840-1896), Zhejiang Shanyin people, word Bonian, number far, the original name of small genus, the first name run, is a representative of the sea painting figures, flowers and birds and landscape, is a versatile painter. And Wu Changshuo, Huigu, Puhua and also known as "the late Qing Dynasty, the four main Shanghai School." Ren Bonian Pink Flower and Bird painting has a unique style and fine techniques. He is involved in a wide range of fields. He is proficient in fine brushwork, boneless, freehand brushwork, while inheriting the traditional painting methods while absorbing the methods used in Western painting and Japanese painting. Through constant attempt and practice, he finally formed his unique painting and appearance. It has a profound influence on the painting world of later generations, and also has great inspiration to my study of pink flower and bird painting. The writing of this thesis is divided into the following four parts: the first part mainly studies the literature review, including the research reason, the literature review, the definition of the research object and the core concept, the main research method and the significance; The second part is an overview of the style of Ren Bonian Pink Flower and Bird painting and the analysis of its causes. The third part is the study of Ren Bonian Pink Flower and Bird painting techniques, which are respectively used in Ren Bonian Pink Flower and Bird painting. Pink point writing method, drawing and filling powder method, with the powder hook method, the contrast method of these techniques for specific interpretation, and analysis of examples; the fourth part is the impact of Ren Bonian pink flower and bird painting on the future and contemporary enlightenment. The second and third parts are the focus of this paper. Through the collection and collation of Ren Bonian related materials, I find that in recent years, the research on the art of Ren Bonian painting is extremely rich, and in the literature of its research, there is little research on Ren Bonian pink flower and bird painting. Most of the materials are concerned, but also sporadic, lack of special research, there is no systematic elaboration of this point. Ren Bonian's paintings in all periods are almost completely preserved, which is a valuable wealth, worthy of careful copy learning, but also for us to study his painting techniques to provide rich resources, Therefore, the topic is of great value and significance. This paper hopes that through the interpretation and analysis of Ren Bonian pink flower and bird painting, we can understand Ren Bonian and its exquisite powder technique more comprehensively, and arouse people's interest in the study of pink flower and bird painting. Hope that the future scholars to study Ren Bonian painting art play a certain role in reference, but also make me improve painting techniques, thus promoting the study and creation of small freehand brushwork flowers and birds painting.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J212

【共引文獻(xiàn)】

相關(guān)期刊論文 前1條

1 何岳;;“玉成”雅集:清末“玉成窯”紫砂藝術(shù)考略[J];創(chuàng)意與設(shè)計(jì);2014年01期

相關(guān)碩士學(xué)位論文 前3條

1 古林峰;現(xiàn)當(dāng)代花鳥(niǎo)畫地域性風(fēng)格研究[D];新疆師范大學(xué);2010年

2 吳俊;論李淪花鳥(niǎo)畫中的“喜新尚奇”[D];西南大學(xué);2013年

3 何瑾;論任伯年晚期繪畫風(fēng)格轉(zhuǎn)變[D];贛南師范學(xué)院;2014年

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本文編號(hào)：2079575