【摘要】：在中國美術史上,陳淳與徐渭并稱“白陽,青藤”。二人在中國寫意花鳥畫發(fā)展史上都占據(jù)著非常重要的地位。如果說青藤把中國大寫意花鳥畫推向頂峰,那么白陽就是大寫意花鳥畫的基石,他為大寫意花鳥畫確立了基本的范式。青藤的大寫意花鳥畫亦源于白陽。 筆者立足于對陳淳寫意花鳥畫的研究。本文主要采用參考文獻法,比較法,圖像例證法以及作品分析法,以陳淳的傳世精品作品為基礎,從四個方面著手對陳淳的寫意花鳥畫藝術的探討。首先是從藝術家本身的角度出發(fā),分析影響陳淳寫意花鳥畫風格形成的主客觀因素。本著客觀的態(tài)度,分析明代中期的社會經(jīng)濟文化背景,結(jié)合對陳淳生平與思想的介紹感受陳淳面對社會世風變化下形成的心理模式,目的是探討在這種模式下的心理狀態(tài)對其寫意花鳥畫風格形成所產(chǎn)生的影響。通過探討陳淳的師承淵源以及明代寫意花鳥畫的時代特色,從而進一步探究影響其寫意花鳥畫藝術風格的更深層次因素。隨后從具體作品出發(fā),對陳淳筆墨,色彩,構圖等形式特征作全面的闡述,進而分析陳淳在書畫互滲、寫生觀念,花鳥畫題材以及長卷形式等幾個方面對于前人的創(chuàng)新。最后結(jié)合具體作品,解讀陳淳寫意花鳥畫藝術風格對后世的影響。為大寫意花鳥畫確立了基本的范式可以說是陳淳繪畫藝術中最大的成就,也是其寫意花鳥畫藝術風格在中國寫意花鳥畫發(fā)展的序列中其風格存在的意義所在,而這正是本論文的寫作目的,通過探討陳淳寫意花鳥畫藝術的價值研究來思考時下：一位優(yōu)秀的藝術家要想在特定的歷史時空中璀璨奪目,前提是需要在時下的歷史時期制定出一套專屬自己的“藝術解決方案”,并且是在這個時代的特定文化情境中的關于藝術的關鍵問題。
[Abstract]:In the history of Chinese art, Chen Chun and Xu Wei are also called "Baiyang, Qingteng." Both of them occupy a very important position in the history of Chinese freehand brushwork flower-and-bird painting. If Saito pushed the Chinese freehand brushwork flower and bird painting to the peak, then Baiyang is the cornerstone of the big freehand brushwork flower and bird painting, he established the basic paradigm for the big freehand brushwork flower and bird painting. The big freehand brushwork flowers and birds painting also originates from Baiyang. The author bases himself on the study of Chen Chun's freehand brushwork of flower-and-bird paintings. This paper mainly uses reference method, comparative method, image illustration method and work analysis method, based on Chen Chun's fine works, from four aspects to explore Chen Chun's freehand brushwork of flower-and-bird painting. First of all, it analyzes the subjective and objective factors that affect the formation of Chen Chun's style of freehand brushwork of flower-and-bird paintings from the point of view of the artist himself. In the light of the objective attitude, this paper analyzes the social, economic and cultural background in the middle of the Ming Dynasty, and combines the introduction of Chen Chun's life and thoughts to experience the psychological model formed by Chen Chun in the face of the changes in the social atmosphere. The purpose of this paper is to explore the influence of psychological state on the style of freehand brushwork. Through the discussion of Chen Chun's origination and the characteristics of the Ming Dynasty's freehand brushwork flower and bird painting, the deeper factors that affect the artistic style of his freehand brushwork flower and bird painting are further explored. Then, from the concrete works, this paper makes a comprehensive exposition on the formal characteristics of Chen Chun's pen and ink, color and composition, and then analyzes Chen Chun's innovations in the aspects of calligraphy and painting mutual permeation, sketching concept, flower-and-bird painting subject matter and long scroll form and so on. Finally, combined with specific works, interpretation of Chen Chun freehand brushwork on the impact of the art style of later generations. Establishing a basic paradigm for large freehand brushwork flower-and-bird painting can be said to be Chen Chun's greatest achievement in painting art, and is also the significance of the existence of his style in the sequence of the development of Chinese freehand brushwork flower-and-bird painting. And this is the purpose of this paper, by discussing the value of Chen Chun's freehand brushwork of flower-and-bird painting to reflect on the current situation: an excellent artist wants to dazzle in a specific historical time and space. The premise is that it is necessary to work out a set of "artistic solutions" in the present historical period, and is the key problem of art in the specific cultural context of this era.
【學位授予單位】：湖南師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

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本文編號：2299273