本文選題：晚明人物畫 + 社會環(huán)境��； 參考：《渤海大學(xué)》2014年碩士論文

【摘要】：晚明時(shí)期人物畫古拙美的藝術(shù)特色在藝術(shù)史上占有重要的地位。晚明人物畫的代表主要有丁云鵬、吳彬、崔子忠、陳洪綬等，這些人物畫家所創(chuàng)作出的優(yōu)秀作品具有獨(dú)特的審美品格，其中最著名的便是古拙美。 社會動蕩與政治黑暗的現(xiàn)實(shí)背景使藝術(shù)家的政治抱負(fù)轉(zhuǎn)向從文從藝，并且歷史悠久的仿古之風(fēng)和對眾多古代優(yōu)秀作品的心追手摹，使藝術(shù)家掌握了集大成的人物畫表現(xiàn)手法；人物畫家自覺與不自覺培養(yǎng)出了版畫創(chuàng)作的藝術(shù)風(fēng)格，而這種版畫創(chuàng)作的藝術(shù)風(fēng)格又對人物畫的發(fā)展尤其是卷軸畫藝術(shù)產(chǎn)生了巨大的影響；晚明“古拙美”的人物畫風(fēng)格也有對陳陳相因的“唐家樣式”的書畫柔靡之風(fēng)的反撥。晚明人物畫家既有廣泛可資借鑒的資源，又能拉開時(shí)代距離、以客觀的眼光選擇運(yùn)用，，創(chuàng)造出具有時(shí)代獨(dú)特的審美品格。晚明時(shí)期的古拙美風(fēng)格的藝術(shù)表現(xiàn)有對道釋和歷史題材的描繪、物什的古代選擇、線描的擅長與版畫、夸張?jiān)煨偷难b飾意趣和衣紋的排疊遒勁、設(shè)色的古雅美、漢魏高古氣息的追尋，等等。 就晚明人物畫家的藝術(shù)創(chuàng)造和傳承來說，它們的藝術(shù)創(chuàng)造仿佛來得比較艱辛，是通過刻苦學(xué)習(xí)后的集大成的繪畫手法與院體繪畫、民間繪畫的多方面糅合所創(chuàng)立的。就所謂的衰落的宋元明清繪畫風(fēng)格來說，這是最為奇特的一種。因?yàn)樗某霈F(xiàn)來得突然，消失也突然，宏觀看來，它們在人物畫史上極具不平凡的一頁。
[Abstract]:In the late Ming Dynasty, the artistic features of figure painting played an important role in the history of art. The representatives of the late Ming Dynasty figure painting are Ding Yunpeng, Wu Bin, Cui Zizhong, Chen Hongshou and so on. The outstanding works created by these figures painters have unique aesthetic character, among which the most famous is the ancient beauty. The realistic background of social turbulence and political darkness makes the artist's political ambition shift from literature to art, and has a long history of imitation of the ancient times and the heart of many outstanding ancient works, so that the artist has mastered the epitomized expression techniques of figure painting. Figure painters consciously and unconsciously cultivate the artistic style of print creation, and this artistic style of print creation has a great influence on the development of figure painting, especially on the art of scroll painting. In the late Ming Dynasty, the figure painting style of Ancient Humble Beauty also reflected Chen Xiangyin's painting style of Tang Dynasty. The painters of the late Ming Dynasty not only have a wide range of resources to be used for reference, but also can draw the distance between the times and choose to use them with an objective vision, thus creating a unique aesthetic character of the times. In the late Ming Dynasty, the artistic expression of the ancient beauty style was the depiction of Taoism and historical themes, the ancient selection of objects and materials, the skill of line drawing in printmaking, the decorative interest of exaggerated modeling, the strong arrangement of clothing patterns, and the elegant beauty of coloring. The pursuit of the ancient flavor of Han and Wei dynasties, and so on. As far as the artistic creation and inheritance of the late Ming figure painters are concerned, their artistic creation seems to be more difficult, which was created through the combination of painstaking painting techniques and traditional painting, folk painting in many aspects. In terms of the so-called decline of the Song, Yuan, Ming and Qing dynasties, this is the most peculiar painting style. Because it appeared suddenly, disappeared suddenly, macro view, they are very extraordinary in the history of figure painting a page.
【學(xué)位授予單位】：渤海大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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