本文選題：北宋 + 南宋��； 參考：《云南師范大學(xué)》2014年碩士論文

【摘要】：宋代的工筆花鳥畫是中國花鳥畫作品中的經(jīng)典之作,它在中國花鳥畫的發(fā)展史上占有重要的地位。我作為一個花鳥畫的學(xué)習者與研究者,對宋代工筆花鳥畫進行深入的了解和分析,不僅能使我獲得很多理論方面的知識,而且更加有助于我今后在學(xué)習和創(chuàng)作中對藝術(shù)審美價值和藝術(shù)創(chuàng)作規(guī)律的理解和認識。 我對宋代工筆花鳥畫的研究主要從以下幾個方面入手：首先從歷史的角度入手,對北宋初期的花鳥畫進行分析,比如西蜀黃筌與南唐徐熙的這兩種完全不同的風格對宋代花鳥畫產(chǎn)生的影響和形成的不同的審美品格,包括后來黃氏畫風在宋初畫壇中一枝獨盛的局面。其次,主要從藝術(shù)本身的角度出發(fā),闡述宋代工筆花鳥畫在各個時期的發(fā)展與風格形成的關(guān)系。一是北宋花鳥畫在黃家體制延續(xù)了近百年之后,開始走向新的局面。趙昌等人開始推崇寫生之路、崔白等人也開始探索對大自然中野情逸趣的表現(xiàn)、在加上徽宗皇帝對宮廷畫院的大力支持,使北宋中晚期的宮廷花鳥畫風格成為了當時社會的創(chuàng)作主流；二是在南宋時期,畫院得以重建,工筆花鳥畫也出現(xiàn)了不同的審美品格。南宋時期的創(chuàng)作空間相對自由,加上受到宋代理學(xué)的影響之后,以一枝一葉作為禪機頓悟的折枝花鳥畫盛行于世,形成了獨特的審美魅力。第三,文章中對宋代花鳥畫的演變與不同審美品格的形成做了詳細的論述,最后主要還是以闡釋宋代花鳥畫形式語言中的審美意蘊為主。這里面主要包括花鳥畫對題材的選擇以及在造型、色彩方面的表現(xiàn)進行分析,努力揭示宋代工筆花鳥畫的美學(xué)精神和創(chuàng)作規(guī)律。
[Abstract]:The fine brush flower-and-bird painting in Song Dynasty is a classic in Chinese flower-and-bird painting, which plays an important role in the development of Chinese flower-and-bird painting. As a learner and researcher of flower-and-bird painting, I have a deep understanding and analysis of the meticulous flower-and-bird paintings of the Song Dynasty, which not only enables me to acquire a lot of theoretical knowledge, Moreover, it will help me to understand and understand the aesthetic value of art and the law of artistic creation in my future study and creation. My research on the fine brushwork of flower-and-bird painting in Song Dynasty mainly starts from the following aspects: firstly, from the historical point of view, I analyze the flower and bird painting in the early Northern Song Dynasty. For example, the two completely different styles of Western Shu Huang Quan and Southern Tang Xu Xi had different influences on the flower and bird paintings in Song Dynasty and formed different aesthetic characters, including the situation that Huang's painting style became dominant in the early Song Dynasty. Secondly, from the point of view of art itself, this paper expounds the relationship between the development and style formation of fine brush flower and bird painting in Song Dynasty. First, the Northern Song Dynasty flowers and birds painting in the yellow family system lasted nearly a hundred years, began to move towards a new situation. Zhao Chang and others began to promote the road of sketching. Cui Bai and others also began to explore the expression of nature's wild feelings and ease, in addition to the strong support of Emperor Huizong to the court painting academy. The style of the court flower and bird painting in the middle and late Northern Song Dynasty became the mainstream of the society at that time; second, in the Southern Song Dynasty, the painting institute was rebuilt, and the fine brushwork flower and bird painting also appeared different aesthetic character. The creation space of the Southern Song Dynasty was relatively free, and after being influenced by the Neo-Confucianism of the Song Dynasty, the foldable flower and bird paintings with one leaf as the Zen machine epiphany prevailed in the world, forming a unique aesthetic charm. Thirdly, the article discusses the evolution of flower and bird painting in Song Dynasty and the formation of different aesthetic character in detail. Finally, it mainly explains the aesthetic meaning in the formal language of flower and bird painting in Song Dynasty. This mainly includes the choice of the theme of the flower and bird painting, as well as in the shape, color performance of the analysis, trying to reveal the Song Dynasty fine brushwork flower and bird painting aesthetic spirit and creative law.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前1條

1 鄧喬彬;論唐宋的繪畫思想與題材之變[J];上海大學(xué)學(xué)報(社會科學(xué)版);2005年03期

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本文編號：2090647