【摘要】：晚期金石意味的中國畫在中國畫壇影響巨大，畫面中出現(xiàn)的富有金石意味的表現(xiàn)形式展現(xiàn)了詩書畫印結(jié)合帶來強(qiáng)烈的審美體驗(yàn)。以這種審美體驗(yàn)為出發(fā)點(diǎn)挖掘花鳥畫中金石意味，花鳥畫中金石意味的表現(xiàn)手法就是以書入畫，，達(dá)到詩書畫印的結(jié)合。這種結(jié)合的方式充分的反映了藝術(shù)家的審美認(rèn)識和深刻思想的內(nèi)涵，繼而從美學(xué)的角度出發(fā)，分析畫面產(chǎn)生的審美意境。意境是自覺的審美意識活動的結(jié)果，他的主客體統(tǒng)一創(chuàng)造了一個(gè)完全獨(dú)立于眼前現(xiàn)實(shí)世界的審美世界、藝術(shù)世界。反映出了主客體高度的統(tǒng)一，這種統(tǒng)一使得情景交融，讓人能得到美的享受。 本文先分析完花鳥畫金石意味的審美意味，繼而展開金石意味的各個(gè)階段的發(fā)展?fàn)顩r，在分析金石意味的發(fā)展之前，簡單的敘述了清代美術(shù)發(fā)展的狀況，碑學(xué)運(yùn)動的興起是花鳥畫發(fā)展的轉(zhuǎn)折點(diǎn)，由此拉開了金石意味表現(xiàn)形式的序幕，從發(fā)展的早期趙之謙的藝術(shù)風(fēng)格到鼎盛時(shí)期吳昌碩和齊白石再到近現(xiàn)代的諸位追求金石意味的畫家，通過時(shí)間軸上繼承的關(guān)系一一進(jìn)行了藝術(shù)風(fēng)格的分析，回到美學(xué)的層面，進(jìn)行總結(jié)，我們能認(rèn)識和欣賞花鳥畫中金石意味的審美樂趣，能體會到美的存在，這些已經(jīng)很足夠了，隨著社會的發(fā)展，對美的認(rèn)識在不斷的變化著，但是不管時(shí)間走的有多么的快，也不會扔下真善美，只要報(bào)著這樣的信念在進(jìn)行藝術(shù)創(chuàng)作，那么美的藝術(shù)是能夠產(chǎn)生的。 金石畫派從發(fā)展以來，出現(xiàn)的追求金石意味的藝術(shù)家，他們格調(diào)高雅，素養(yǎng)全面，以追求畫面的金石意味為目標(biāo)，創(chuàng)造出了無法逾越的藝術(shù)巔峰，金石畫派從發(fā)展之初到完全成熟經(jīng)歷了發(fā)展的各個(gè)階段，最終才完成了詩書畫印的完美結(jié)合，長時(shí)間的積累與沉淀才純熟了技法，但其中更加引人深思和值得學(xué)習(xí)的是各家的精神，這種堅(jiān)持不懈，面對挫折而勇于完善自我的精神。同時(shí)詩書畫印的結(jié)合也告訴我們，知識的相通性；各家的師法對象和藝術(shù)追求代表著各家的審美主張，審美主張的形成靠的是閱歷與理論的支撐，所以，繪畫的學(xué)習(xí)是全面的學(xué)習(xí)，除了詩書畫印的全面修養(yǎng)外，更重要的是思想的境界的培養(yǎng)。
[Abstract]:The late Chinese paintings with the meaning of gold and stone have a great influence on the Chinese painting world, and the forms of expression with golden and stone meanings in the pictures show a strong aesthetic experience brought about by the combination of poetry, calligraphy, painting and printing. With this aesthetic experience as the starting point to excavate the meaning of stone in flower and bird painting, the expression of the meaning of gold and stone in flower and bird painting is the combination of poetry, calligraphy and painting. The combination of this way fully reflects the aesthetic understanding of the artist and the connotation of profound thoughts, and then from the perspective of aesthetics, analysis of the aesthetic artistic conception produced by the screen. Artistic conception is the result of conscious aesthetic consciousness activity. His unity of subject and object creates an aesthetic world, an artistic world completely independent of the present reality. It reflects the unity of subject and object, which makes people enjoy beauty. This article first analyzes the aesthetic meaning of the flower and bird painting, then unfolds the development of each stage of the golden and stone meaning. Before analyzing the development of the golden and stone meaning, it simply describes the development of the fine arts in the Qing Dynasty. The rise of the stele movement was a turning point in the development of flower-and-bird painting, which opened the prologue of the golden and stone manifestation. From the early artistic style of Zhao Zhiqian in the early stage of development to Wu Changshuo and Qi Baishi in the heyday, to the modern painters who sought the golden and stone meaning, they analyzed the artistic style one by one through the relationship inherited on the timeline, and returned to the level of aesthetics. Summing up, we can understand and appreciate the aesthetic pleasure of stone and gold in flower-and-bird paintings, and we can appreciate the existence of beauty. These are enough. With the development of society, the understanding of beauty is constantly changing. But no matter how fast time goes, it will not leave behind the true, the good and the beautiful, so long as this belief in artistic creation, then the art of beauty can be produced. Since its development, the jinshi painting school has emerged as an artist who pursues the meaning of gold and stone. Their style is elegant, their quality is comprehensive, and their goal is to pursue the golden and stone meaning of the picture, thus creating an unsurmountable artistic peak. From the beginning of its development to its full maturity, the Golden Stone School experienced various stages of development, and finally completed the perfect combination of poetry, calligraphy, painting and printing, and after a long period of accumulation and precipitation, it was only after a long period of accumulation and precipitation that it became proficient in its techniques. But one of the more thought-provoking and worth learning is the spirit of each, this perseverance, face setbacks and courage to improve themselves. At the same time, the combination of poetry, calligraphy, painting and printing also tells us the common nature of knowledge; The objects and artistic pursuits of each school represent the aesthetic opinions of various countries. The formation of aesthetic opinions depends on the support of experience and theory. Therefore, the study of painting is a comprehensive study, in addition to the comprehensive cultivation of poetry, calligraphy, painting and printing. What is more important is the cultivation of the realm of thought.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 劉瑩;;關(guān)于海上畫派與金石畫派關(guān)系的再研究[J];采寫編;2009年04期

2 陳寧;;清代碑學(xué)興盛原因淺析[J];書畫世界;2012年05期

3 沈揆一;復(fù)興文人畫傳統(tǒng)的最后一次搏擊——吳昌碩和海上金石畫派[J];美術(shù)研究;2002年03期

4 張艷榮;;推陳出新話虛谷——淺論虛谷的繪畫藝術(shù)[J];美術(shù)大觀;2011年08期

5 燕益得;;金石畫派的前期驍將——吳讓之繪畫藝術(shù)及市場行情漫議[J];收藏界;2010年12期

6 單國強(qiáng);;吳昌碩繪畫藝術(shù)的金石味[J];紫禁城;2008年04期

7 張衛(wèi)清;;清代碑學(xué)與帖學(xué)義正——關(guān)于康有為《廣藝舟雙楫》的碑帖學(xué)界定[J];藝術(shù)教育;2012年12期

8 曹建;;碑學(xué)觀念與鄭道昭“書圣”得名之由[J];藝術(shù)百家;2009年06期

相關(guān)博士學(xué)位論文 前1條

1 張小莊;別有狂言謝時(shí)望，但開風(fēng)氣不為師[D];南京師范大學(xué);2005年

相關(guān)碩士學(xué)位論文 前3條

1 張丹;論海派畫家吳昌碩繪畫藝術(shù)創(chuàng)新[D];中央民族大學(xué);2007年

2 馮其永;金石畫派書畫關(guān)系研究[D];山東大學(xué);2010年

3 劉蘊(yùn)林;清晚期金石畫派花鳥畫研究[D];河南大學(xué);2010年

本文編號：2362039