元代花鳥畫詩畫意境研究
發(fā)布時間：2019-01-10 19:24
【摘要】：元代花鳥畫在中國繪畫史上占有其獨特而又重要的地位,對后世產(chǎn)生深遠影響。雖然現(xiàn)代學者對其有諸多研究,但仍然有很多問題需要進行深入探討。本文從五個部分來闡述元代花鳥畫的詩畫意境:第一部分介紹了元代花鳥畫的特征;第二部分將元代花鳥畫詩畫意境的表達方式和本質(zhì)特點做出更清晰的分類以及更深入的研究:第一:先研究它的表達方式,從兩個方面分析,首先以花鳥畫的構(gòu)圖來傳達意境,構(gòu)圖具體介紹了全景構(gòu)圖和折枝構(gòu)圖;其次,是構(gòu)圖中詩畫合一的表達方式,具體從構(gòu)圖中的詩畫關(guān)系、詩畫書寫的兩方面來說明。第二:研究花鳥畫詩畫意境的本質(zhì)特點,重點對畫的意境和詩的意境闡述。畫的意境從兩方面說明,一是闡釋了什么是畫的意境,二是以工筆花鳥畫和水墨畫為背景,從用筆與用色兩個方面進行總結(jié)分析;詩的意境從兩方面說明,一是了解詩的意境的概念,二是重點分析了元代畫中詩意境的特點。第三部分介紹了詩境與畫境之間的關(guān)系:首先是繪畫的詩意性表達,主要分析了以畫為主體,詩歌為輔助;其次是詩意對畫境的外化作用:重點介紹了以詩為主題進行繪畫創(chuàng)作的實例;第三是詩情與畫意的相融性:從詩和畫在表達方式和傳達意境上相互融合相互彌補來論證。第四部分重點用實例論證以上的論點,通過對元代花鳥畫家錢選、王冕、吳鎮(zhèn)、王淵、柯九思的作品進行詩畫解析,進一步印證詩畫意境的表現(xiàn)。第五部分是對現(xiàn)代花鳥畫家的一些啟示,重視傳統(tǒng)的同時也要追求創(chuàng)新。本文將以元代花鳥畫的發(fā)展為開端,重點對元代花鳥畫中詩畫意境的表達方式與本質(zhì)特點以及詩畫意境之間的關(guān)系進行研究,通過對著名元代花鳥畫家的作品進行詩畫解析,希望對現(xiàn)代花鳥畫家的理論研究和繪畫創(chuàng)作有一定的意義和借鑒作用。
[Abstract]:The flower and bird painting in Yuan Dynasty occupies a unique and important position in the history of Chinese painting and has a profound influence on later generations. Although there are many researches on it by modern scholars, there are still many problems that need to be discussed in depth. This paper expounds the artistic conception of the flower and bird painting in Yuan Dynasty from five parts: the first part introduces the characteristics of the flower and bird painting in Yuan Dynasty; The second part makes a clearer classification and more in-depth research on the expression mode and essential characteristics of the artistic conception of the flower and bird paintings in Yuan Dynasty. First, it studies its expression mode, analyzes from two aspects, and first conveys the artistic conception by the composition of the flower and bird paintings. The panoramic composition and the twisted-branch composition are introduced in detail. Secondly, it is the expression of the combination of poetry and painting in composition, which is explained from the relationship of poetry and painting in composition and the writing of poetry and painting. The second part is to study the essential characteristics of the artistic conception of the flower and bird paintings, focusing on the artistic conception of the painting and the artistic conception of the poem. The artistic conception of painting is explained from two aspects, one is to explain what is the artistic conception of painting, the other is to sum up and analyze from the two aspects of brush and color in the background of fine brushwork and bird painting and ink painting; The artistic conception of poetry is explained from two aspects, one is to understand the concept of artistic conception of poetry, and the other is to analyze the characteristics of artistic conception of poetry in the paintings of Yuan Dynasty. The third part introduces the relationship between poetry and painting: first, the poetic expression of painting, mainly analyzes the painting as the main body, poetry as the auxiliary; The second is the externalization of poetry to the painting environment: the emphasis is on the examples of painting creation with poetry as the theme; the third is the harmony of poetry and painting: the demonstration is made up from the mutual fusion of poetry and painting in the expression and conveyance of artistic conception. The fourth part uses examples to demonstrate the above arguments, through the Yuan Dynasty flower and bird painter Qian Xuan, Wang Mian, Wu Zhen, Wang Yuan, Ke Jiusi's works of poetry and painting analysis, to further verify the performance of the artistic conception of poetry and painting. The fifth part is some enlightenment to modern flower and bird painters, which should pursue innovation while attaching importance to tradition. Starting with the development of flower and bird painting in Yuan Dynasty, this paper focuses on the expression mode and essential characteristics of artistic conception and the relationship between artistic conception of poetry and painting in the flower and bird painting of Yuan Dynasty, and analyzes the works of famous flower and bird painters of Yuan Dynasty through the analysis of poetry and painting. It is hoped that it will be of significance and reference to the theoretical research and painting creation of modern flower and bird painters.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
[Abstract]:The flower and bird painting in Yuan Dynasty occupies a unique and important position in the history of Chinese painting and has a profound influence on later generations. Although there are many researches on it by modern scholars, there are still many problems that need to be discussed in depth. This paper expounds the artistic conception of the flower and bird painting in Yuan Dynasty from five parts: the first part introduces the characteristics of the flower and bird painting in Yuan Dynasty; The second part makes a clearer classification and more in-depth research on the expression mode and essential characteristics of the artistic conception of the flower and bird paintings in Yuan Dynasty. First, it studies its expression mode, analyzes from two aspects, and first conveys the artistic conception by the composition of the flower and bird paintings. The panoramic composition and the twisted-branch composition are introduced in detail. Secondly, it is the expression of the combination of poetry and painting in composition, which is explained from the relationship of poetry and painting in composition and the writing of poetry and painting. The second part is to study the essential characteristics of the artistic conception of the flower and bird paintings, focusing on the artistic conception of the painting and the artistic conception of the poem. The artistic conception of painting is explained from two aspects, one is to explain what is the artistic conception of painting, the other is to sum up and analyze from the two aspects of brush and color in the background of fine brushwork and bird painting and ink painting; The artistic conception of poetry is explained from two aspects, one is to understand the concept of artistic conception of poetry, and the other is to analyze the characteristics of artistic conception of poetry in the paintings of Yuan Dynasty. The third part introduces the relationship between poetry and painting: first, the poetic expression of painting, mainly analyzes the painting as the main body, poetry as the auxiliary; The second is the externalization of poetry to the painting environment: the emphasis is on the examples of painting creation with poetry as the theme; the third is the harmony of poetry and painting: the demonstration is made up from the mutual fusion of poetry and painting in the expression and conveyance of artistic conception. The fourth part uses examples to demonstrate the above arguments, through the Yuan Dynasty flower and bird painter Qian Xuan, Wang Mian, Wu Zhen, Wang Yuan, Ke Jiusi's works of poetry and painting analysis, to further verify the performance of the artistic conception of poetry and painting. The fifth part is some enlightenment to modern flower and bird painters, which should pursue innovation while attaching importance to tradition. Starting with the development of flower and bird painting in Yuan Dynasty, this paper focuses on the expression mode and essential characteristics of artistic conception and the relationship between artistic conception of poetry and painting in the flower and bird painting of Yuan Dynasty, and analyzes the works of famous flower and bird painters of Yuan Dynasty through the analysis of poetry and painting. It is hoped that it will be of significance and reference to the theoretical research and painting creation of modern flower and bird painters.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
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相關(guān)期刊論文 前9條
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2 張遠瓏;萬勇;;論“詩中有畫,畫中有詩”——詩情與畫意的結(jié)合[J];美術(shù)大觀;2011年01期
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