“撞水撞粉”于沒骨花鳥畫的傳承與發(fā)展研究
發(fā)布時(shí)間：2018-11-05 06:59
【摘要】：沒骨法是不以工整勾勒墨線,而以溫和淡雅的顏色完全著染的手法表現(xiàn)描繪對象,是中國傳統(tǒng)花鳥繪畫中一個(gè)獨(dú)特的技法體系。撞水撞粉繪畫技法傳承于沒骨畫而有所發(fā)展。撞水撞粉繪畫運(yùn)用概括而不乏細(xì)膩的手法和精到洗練的色墨肌理表現(xiàn)物象,在非此似彼的千變?nèi)f化間的自然肌理中泛起率真而野性的藝術(shù)表現(xiàn),為畫面平添幾分細(xì)膩朦朧之天趣,并付予物象以豐碩寄意,是以淡化了物象而傳達(dá)在其之外的自然生命之美。中國花鳥畫自唐獨(dú)立成科以來,經(jīng)典作品及學(xué)術(shù)著作經(jīng)歷代畫家的努力而層出不窮,并創(chuàng)造了許多藝術(shù)表現(xiàn)形式與筆墨程式的規(guī)范。本論文從花鳥畫發(fā)展歷史與其藝術(shù)性的角度,綜合運(yùn)用分析、歸類、比較、圖像等研究方法,以撞水撞粉法繪畫為軸心,把其放在中國傳統(tǒng)花鳥畫歷史、沒骨花鳥畫的傳承與發(fā)展上作予研究,把握當(dāng)中發(fā)生的形態(tài)特點(diǎn)以及史學(xué)意義,認(rèn)識其在中國傳統(tǒng)花鳥繪畫歷程上的重要作用。大量的作品圖例分析研究表明,撞水撞粉繪畫有以傳達(dá)畫者審美意志而隨時(shí)代動(dòng)態(tài)發(fā)展的特點(diǎn),其水色交融的意蘊(yùn)無窮、可變性所導(dǎo)致產(chǎn)生的不同形態(tài)在呈現(xiàn)出一種無拘束的渾然肌理正在被予以廣泛應(yīng)用。文中通過對“二居”撞水撞粉繪畫技法的學(xué)習(xí)作以步驟范圖,以此更好地呈現(xiàn)撞水撞粉繪畫奇特而生動(dòng)的藝術(shù)表現(xiàn)。再者對沒骨花鳥畫技法與撞水撞粉繪畫技法的比擬分析,緊緊抓住撞水撞粉繪畫與沒骨花鳥畫的藝術(shù)性特點(diǎn),將此進(jìn)行層次的技法分類,揭示在技法運(yùn)用過程中所呈現(xiàn)的新的語匯與視覺形象,把理論學(xué)習(xí)、思考及創(chuàng)作經(jīng)驗(yàn)聯(lián)絡(luò)加以整合與梳理,試圖捕捉到一種迥異于傳統(tǒng)繪畫的新鮮美感,并指導(dǎo)實(shí)踐。
[Abstract]:The boneless method is a unique technique system of Chinese traditional flower and bird painting, which is not to draw ink lines by finishing, but to depict the objects by using gentle and elegant color completely, which is a unique technique system in Chinese traditional flower and bird painting. The painting technique of colliding water and powder is inherited from no bone painting and has been developed. The painting of colliding water and powder is made up of fine and delicate techniques, and the color and ink texture that is refined to washing and practicing represents the material image, and in the natural texture of the ever-changing nature of this and the other, there is a frank and wild artistic expression. It adds some delicate and dim interest to the picture and gives the image a rich meaning. It is the beauty of natural life which is conveyed beyond it by desalinating the image. Since the independence of Tang Dynasty, Chinese flower-and-bird paintings have experienced the efforts of painters and created many forms of artistic expression and the standard of ink and ink formula. From the perspective of the development history and artistry of flower-and-bird painting, this paper comprehensively applies the research methods of analysis, classification, comparison, image and so on, and puts it in the history of Chinese traditional flower-and-bird painting with the impact of water and powder as its axis. The inheritance and development of the flower and bird painting without bone is studied, the shape characteristics and historical significance are grasped, and its important role in the painting process of Chinese traditional flowers and birds is recognized. The analysis of a large number of works shows that the painting of colliding water with powder has the characteristics of conveying the aesthetic will of the painters and developing with the times, and the implication of the blend of water color is infinite. The different forms caused by variability are being widely used to present an unfettered texture. In this paper, through the study of the painting techniques of "Erju", this paper makes a step diagram to better present the peculiar and vivid artistic expression of the painting of "water and powder impact". Furthermore, the comparative analysis of the techniques of the flower-and-bird painting without bones and the painting techniques of the impact of water and powder, tightly grasps the artistic characteristics of the painting of the impact of water and the powder and the painting of flowers and birds without bones, and classifies this technique into different levels. This paper reveals the new vocabulary and visual image presented in the application of techniques, integrates and combs the theoretical learning, thinking and creative experience, tries to catch a fresh aesthetic feeling that is completely different from traditional painting, and guides the practice.
【學(xué)位授予單位】：廣東工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
本文編號：2311276
[Abstract]:The boneless method is a unique technique system of Chinese traditional flower and bird painting, which is not to draw ink lines by finishing, but to depict the objects by using gentle and elegant color completely, which is a unique technique system in Chinese traditional flower and bird painting. The painting technique of colliding water and powder is inherited from no bone painting and has been developed. The painting of colliding water and powder is made up of fine and delicate techniques, and the color and ink texture that is refined to washing and practicing represents the material image, and in the natural texture of the ever-changing nature of this and the other, there is a frank and wild artistic expression. It adds some delicate and dim interest to the picture and gives the image a rich meaning. It is the beauty of natural life which is conveyed beyond it by desalinating the image. Since the independence of Tang Dynasty, Chinese flower-and-bird paintings have experienced the efforts of painters and created many forms of artistic expression and the standard of ink and ink formula. From the perspective of the development history and artistry of flower-and-bird painting, this paper comprehensively applies the research methods of analysis, classification, comparison, image and so on, and puts it in the history of Chinese traditional flower-and-bird painting with the impact of water and powder as its axis. The inheritance and development of the flower and bird painting without bone is studied, the shape characteristics and historical significance are grasped, and its important role in the painting process of Chinese traditional flowers and birds is recognized. The analysis of a large number of works shows that the painting of colliding water with powder has the characteristics of conveying the aesthetic will of the painters and developing with the times, and the implication of the blend of water color is infinite. The different forms caused by variability are being widely used to present an unfettered texture. In this paper, through the study of the painting techniques of "Erju", this paper makes a step diagram to better present the peculiar and vivid artistic expression of the painting of "water and powder impact". Furthermore, the comparative analysis of the techniques of the flower-and-bird painting without bones and the painting techniques of the impact of water and powder, tightly grasps the artistic characteristics of the painting of the impact of water and the powder and the painting of flowers and birds without bones, and classifies this technique into different levels. This paper reveals the new vocabulary and visual image presented in the application of techniques, integrates and combs the theoretical learning, thinking and creative experience, tries to catch a fresh aesthetic feeling that is completely different from traditional painting, and guides the practice.
【學(xué)位授予單位】：廣東工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
1 蘇百鈞;;寫生課教學(xué)[J];國畫家;2007年04期
2 朱萬章;;“二居”生平藝事考略[J];嶺南文史;2005年04期
3 林若熹;沒骨的現(xiàn)代意義[J];美術(shù)觀察;2004年04期
，本文編號：2311276
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