【摘要】：在中國(guó)美術(shù)史上,陳淳與徐渭并稱(chēng)“白陽(yáng),青藤”。二人在中國(guó)寫(xiě)意花鳥(niǎo)畫(huà)發(fā)展史上都占據(jù)著非常重要的地位。如果說(shuō)青藤把中國(guó)大寫(xiě)意花鳥(niǎo)畫(huà)推向頂峰,那么白陽(yáng)就是大寫(xiě)意花鳥(niǎo)畫(huà)的基石,他為大寫(xiě)意花鳥(niǎo)畫(huà)確立了基本的范式。青藤的大寫(xiě)意花鳥(niǎo)畫(huà)亦源于白陽(yáng)。 筆者立足于對(duì)陳淳寫(xiě)意花鳥(niǎo)畫(huà)的研究。本文主要采用參考文獻(xiàn)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(chǔ),從四個(gè)方面著手對(duì)陳淳的寫(xiě)意花鳥(niǎo)畫(huà)藝術(shù)的探討。首先是從藝術(shù)家本身的角度出發(fā),分析影響陳淳寫(xiě)意花鳥(niǎo)畫(huà)風(fēng)格形成的主客觀(guān)因素。本著客觀(guān)的態(tài)度,分析明代中期的社會(huì)經(jīng)濟(jì)文化背景,結(jié)合對(duì)陳淳生平與思想的介紹感受陳淳面對(duì)社會(huì)世風(fēng)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(duì)其寫(xiě)意花鳥(niǎo)畫(huà)風(fēng)格形成所產(chǎn)生的影響。通過(guò)探討陳淳的師承淵源以及明代寫(xiě)意花鳥(niǎo)畫(huà)的時(shí)代特色,從而進(jìn)一步探究影響其寫(xiě)意花鳥(niǎo)畫(huà)藝術(shù)風(fēng)格的更深層次因素。隨后從具體作品出發(fā),對(duì)陳淳筆墨,色彩,構(gòu)圖等形式特征作全面的闡述,進(jìn)而分析陳淳在書(shū)畫(huà)互滲、寫(xiě)生觀(guān)念,花鳥(niǎo)畫(huà)題材以及長(zhǎng)卷形式等幾個(gè)方面對(duì)于前人的創(chuàng)新。最后結(jié)合具體作品,解讀陳淳寫(xiě)意花鳥(niǎo)畫(huà)藝術(shù)風(fēng)格對(duì)后世的影響。為大寫(xiě)意花鳥(niǎo)畫(huà)確立了基本的范式可以說(shuō)是陳淳繪畫(huà)藝術(shù)中最大的成就,也是其寫(xiě)意花鳥(niǎo)畫(huà)藝術(shù)風(fēng)格在中國(guó)寫(xiě)意花鳥(niǎo)畫(huà)發(fā)展的序列中其風(fēng)格存在的意義所在,而這正是本論文的寫(xiě)作目的,通過(guò)探討陳淳寫(xiě)意花鳥(niǎo)畫(huà)藝術(shù)的價(jià)值研究來(lái)思考時(shí)下：一位優(yōu)秀的藝術(shù)家要想在特定的歷史時(shí)空中璀璨奪目,前提是需要在時(shí)下的歷史時(shí)期制定出一套專(zhuān)屬自己的“藝術(shù)解決方案”,并且是在這個(gè)時(shí)代的特定文化情境中的關(guān)于藝術(shù)的關(guān)鍵問(wèn)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(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J212

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本文編號(hào)：2299273