【摘要】：本文以明代漁父題材繪畫為主要研究對象,通過對明代漁父題材繪畫與前代同類題材的對比發(fā)現(xiàn),在明代,漁父題材繪畫總體趨向于世俗化,各且個階段又有其特色,針對這一現(xiàn)象,本文展開研究。 本文的研究目的是探討漁父題材繪畫,由元代的隱逸發(fā)展到明代初期的世俗化、中晚期的亦隱亦俗以及末期的形式化的表現(xiàn)及其成因。 為了解決這個問題,文章首先梳理了明代之前此類繪畫題材在各個時期的不同特點及其代表畫家,并對明代的社會背景和繪畫特征進(jìn)行整體的把握。 在此基礎(chǔ)上,文章提出了漁父題材繪畫的四個視覺要素,并對其進(jìn)行分析,發(fā)現(xiàn)漁父題材繪畫視覺要素在明代發(fā)生了變化,并與這類題材的主題思想變化相呼應(yīng)。 文章通過進(jìn)一步分析職業(yè)畫家和文人畫家的漁父題材繪畫作品發(fā)現(xiàn),職業(yè)畫家漁父題材繪畫作品的世俗化是通過對畫面意境的削弱、漁父形象的擴(kuò)大、對漁父現(xiàn)實生活的描寫等幾點來實現(xiàn)的；而文人畫家的此類題材無論是在表現(xiàn)具有世俗意味的“漁樂”圖還是具有“隱逸”情懷的漁隱圖,都呈現(xiàn)出亦俗亦隱的特征,到了末期,文人畫家在創(chuàng)作此類題材時,則更為形式化。本文分析產(chǎn)生這兩種現(xiàn)象的原因得出：明前期職業(yè)畫家漁父題材的世俗化是和貴族品味、文化思潮及其畫家的社會地位相關(guān)的；而導(dǎo)致這種世俗關(guān)懷到明中晚期發(fā)生轉(zhuǎn)變的原因,則是由主流藝術(shù)品味的變化以及文人科考失意所造成的。末期漁父題材繪畫形的形式化則是源于社會思潮及藝術(shù)觀念的巨變。
[Abstract]:In this paper, the Ming Dynasty fisherman paintings as the main object of study, through the Ming Dynasty fisherman paintings and the same theme of the previous generation of comparison found that in the Ming Dynasty, fisherman paintings tend to be generally secular, and each stage has its own characteristics, for this phenomenon, this paper launched a study.
The purpose of this study is to explore the fisherman theme painting, from the Yuan Dynasty seclusion to the early Ming Dynasty secularization, the middle and late seclusion is also vulgar and the late formalization of the performance and its causes.
In order to solve this problem, the article first combs the different characteristics of this kind of paintings before the Ming Dynasty and their representative painters in various periods, and grasps the social background and painting characteristics of the Ming Dynasty as a whole.
On this basis, the article puts forward four visual elements of fisherman theme painting, and analyzes them. It is found that the visual elements of fisherman theme painting have changed in the Ming Dynasty, and correspond to the changes of thematic ideas of such subjects.
Through further analysis of the fisherman themes painted by professional painters and literati painters, this paper finds that the secularization of the fisherman themes painted by professional painters is realized by weakening the artistic conception of the picture, expanding the image of the fisherman, and describing the fisherman's real life, etc. The secular "fishing music" picture or the seclusive "fishing recluse" picture shows the secular and secluded characteristics. At the end of this period, the literati painters in the creation of such themes, it is more formal. This paper analyzes the reasons for these two phenomena: the secularization of the early Ming Dynasty professional painter fisherman theme is and noble taste, literature. In the late Ming Dynasty, the formalization of fishermen's paintings originated from the tremendous changes of social thoughts and artistic concepts.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J205

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相關(guān)博士學(xué)位論文 前1條

1 羅中峰;沈周的生活世界[D];中國美術(shù)學(xué)院;2011年

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本文編號：2205538