發(fā)布時(shí)間：2018-05-30 16:17

  本文選題：工筆花鳥(niǎo)畫 + 意境��； 參考：《云南師范大學(xué)》2015年碩士論文

【摘要】：工筆花鳥(niǎo)畫作為一門畫科,早在唐代時(shí)期就已經(jīng)獨(dú)立出來(lái),是我國(guó)傳統(tǒng)繪畫中重要的一個(gè)組成部分,花鳥(niǎo)畫的最高峰當(dāng)然是屬于兩宋時(shí)期了。當(dāng)時(shí)的皇帝宋徽宗對(duì)工筆花鳥(niǎo)畫的發(fā)展做出了極其重要的貢獻(xiàn),在他精心領(lǐng)導(dǎo)和創(chuàng)辦的宣和畫院里,聚集了很大一批當(dāng)時(shí)中國(guó)畫壇上拔尖的人物,他們形成一股繪畫浪潮,不斷去探索和創(chuàng)新中國(guó)畫,他們的舉動(dòng)無(wú)疑推動(dòng)了整個(gè)工筆花鳥(niǎo)畫欣欣向榮,可想而知在當(dāng)時(shí)也是一股熱潮,注重寫生和注重自覺(jué)創(chuàng)作是工筆花鳥(niǎo)畫最明顯的特點(diǎn)之一,在工筆花鳥(niǎo)畫的形式語(yǔ)言中另外一個(gè)特點(diǎn)應(yīng)當(dāng)是作品的意境,此意境必然是賦予了朦朧的詩(shī)意性。本篇論文的核心思想就是研究詩(shī)意性在繪畫過(guò)程中的體現(xiàn),怎樣使一副作品富于詩(shī)意性、需要哪些構(gòu)成因素并做出了具體的分析與研究,“意境”是本作者學(xué)習(xí)中國(guó)畫的主旋律,因?yàn)橄騺?lái)就對(duì)詩(shī)詞歌賦著迷,愛(ài)幻想,喜愛(ài)朦朦朧朧的仙氣般的云霧,喜愛(ài)天空純凈的美,酷愛(ài)傍晚時(shí)分遠(yuǎn)山靜謐的晚霞,這自然界種種的美賦予了大自然安詳寧和的詩(shī)意美,也正是作者一直追求的意境。工筆花鳥(niǎo)畫,核心字眼并非字面上的‘工’,有大部分的人對(duì)工筆花鳥(niǎo)畫有一定的誤解,如果只是覺(jué)得“工細(xì)”是主脈,那么這樣的誤解只會(huì)讓人噗之以鼻,把你當(dāng)門外漢而已。本文的核心思想停留在工筆花鳥(niǎo)畫的詩(shī)意性上面來(lái)著實(shí)論述,通過(guò),古文獻(xiàn)關(guān)于中國(guó)畫詩(shī)意的解讀、當(dāng)今工筆花鳥(niǎo)畫不同的繪畫語(yǔ)言和作者對(duì)工筆花鳥(niǎo)畫中詩(shī)意性的領(lǐng)悟與見(jiàn)解,以上三個(gè)部分步步為營(yíng)來(lái)闡述主題觀點(diǎn)的合理性與重要性。工筆花鳥(niǎo)畫并非“工細(xì)”就能稱之為一副優(yōu)秀的作品,我們必須拋開(kāi)其表象而去發(fā)現(xiàn)真實(shí),其真正值得揣摩的是其靈魂之所在,那么工筆花鳥(niǎo)畫的靈魂到底是什么呢?在本文的中心論點(diǎn)中是指它的意境,這將是本文研究的重點(diǎn)。所有的意境都需要作者的用筆去展現(xiàn)。本文在大的塊面去分析之后,細(xì)講怎樣通過(guò)用筆去完成詩(shī)意性,其中例舉到了西方繪畫與日本繪畫的精華之處,通過(guò)分析,我們不難發(fā)現(xiàn)非本土繪畫的特色無(wú)疑在今后的學(xué)習(xí)中是我們成功之路的墊腳石。
[Abstract]:Fine brushwork flower and bird painting as a painting section, as early as the Tang Dynasty has been independent, is an important part of our traditional painting, flower and bird painting of course belongs to the peak of the Song Dynasty. At that time, Emperor Huizong made an extremely important contribution to the development of meticulous flower-and-bird painting. In the Xuan he painstakingly led and founded by him, he gathered a large number of figures who were at the top of the Chinese painting world at that time, and they formed a wave of painting. They continued to explore and innovate Chinese painting, and their actions undoubtedly promoted the prosperity of the whole fine brushwork flower-and-bird painting. One of the most obvious features of meticulous flower-and-bird painting was that it was also an upsurge at that time. It was one of the most obvious features of meticulous flower-and-bird paintings that they paid attention to sketching and consciously creating. Another characteristic in the formal language of meticulous flower-and-bird painting should be the artistic conception of the works, which must be endowed with obscurity of poetry. The core idea of this thesis is to study the embodiment of poetics in the process of painting, how to make a work full of poeticism, what constitute factors and make concrete analysis and research. "artistic Conception" is the main theme of the author's study of Chinese painting, because he has always been fascinated by poetry and poetry, has always loved fantasy, love hazy clouds, love the pure beauty of the sky, love the quiet sunset of the distant mountains in the evening. The beauty of nature endows nature with the poetic beauty of serenity and tranquility, and is the artistic conception which the author has been pursuing. In meticulous flower-and-bird painting, the key word is not literally "Gongjiao". Most people have certain misunderstandings about meticulous flower-and-bird paintings. If they just think that "fine work" is the main vein, then such misunderstandings will only make people puff their noses. Just treating you like a layman. The core idea of this paper stays above the poetic nature of the fine brushwork flower and bird painting, through the interpretation of the ancient literature on the poetic meaning of Chinese painting, Nowadays, different painting languages of fine brushwork flower and bird painting and the author's comprehension and opinion of poetic character in fine brush flower and bird painting, the above three parts step by step to expound the rationality and importance of the theme viewpoint. Fine brushwork flower and bird painting is not "fine" can be called an excellent work, we must put aside its appearance and find the truth, it is really worth to guess where its soul, so what is the soul of the fine brushwork flower and bird painting in the end? In this paper, the central argument is to refer to its artistic conception, which will be the focus of this study. All artistic conception needs the author's pen to show. In this paper, after analyzing the big block surface, I discuss in detail how to use the pen to complete the poetic quality, including examples of the essence of Western painting and Japanese painting, and through analysis, It is not difficult to find that the characteristics of non-native painting will undoubtedly be the stepping stone of our success in the future.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J212

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

1 莊天明;趙啟斌;;江蘇歷代繪畫流派綜論[J];長(zhǎng)江文化論叢;2009年00期

2 沙武田;敦煌畫中的“色標(biāo)”資料[J];敦煌研究;2005年01期

3 劉娟;論界畫的發(fā)展和消亡[J];福建師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2005年01期

4 樊波;;唐代畫家周f 家世新證——以石刻文獻(xiàn)為中心[J];碑林集刊;2013年00期

5 趙振宇;;試析隋唐繪畫創(chuàng)作的地理分布[J];美術(shù)觀察;2010年01期

6 韓剛;;“夫畫道之中,水墨最為上”考源[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2012年03期

7 李杰榮;;漢至唐代的詩(shī)經(jīng)圖[J];河北師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2013年01期

8 王玲娟;鄧新航;龍紅;;大足石刻北山地藏組合造像管窺[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2014年01期

9 王佩;;略談隋唐時(shí)期中國(guó)人物畫的發(fā)展[J];美術(shù)大觀;2014年06期

10 徐深大;;淺析中國(guó)現(xiàn)當(dāng)代人物畫創(chuàng)作與現(xiàn)實(shí)主義精神的關(guān)系[J];美術(shù)教育研究;2014年13期

相關(guān)博士學(xué)位論文 前10條

1 王赫赫;中國(guó)古代人物畫“十八描”概念的歷史演進(jìn)與畫史意義[D];中央美術(shù)學(xué)院;2010年

2 李杰;勒石與勾描—唐代石槨人物線刻的繪畫風(fēng)格學(xué)研究[D];西安美術(shù)學(xué)院;2011年

3 趙權(quán)利;中國(guó)古代繪畫技法、材料、工具史綱[D];中國(guó)藝術(shù)研究院;2001年

4 彭肜;中國(guó)佛教藝術(shù)研究[D];四川大學(xué);2002年

5 王艷云;西夏晚期七大經(jīng)變畫探析[D];首都師范大學(xué);2003年

6 孔六慶;繼往開(kāi)來(lái)[D];南京藝術(shù)學(xué)院;2003年

7 吳曉明;明代中后期園林題材繪畫的研究[D];中央美術(shù)學(xué)院;2004年

8 馬新廣;唐五代佛寺壁畫的文獻(xiàn)考察[D];西北大學(xué);2008年

9 鄭以墨;五代墓葬美術(shù)研究[D];中央美術(shù)學(xué)院;2009年

10 徐濤;唐宋之際“吳家樣”傳承研究[D];中央美術(shù)學(xué)院;2009年

相關(guān)碩士學(xué)位論文 前10條

1 張晴;中國(guó)繪畫“疏密”二體的語(yǔ)言構(gòu)造和風(fēng)格意蘊(yùn)[D];南京藝術(shù)學(xué)院;2011年

2 程澤明;哲學(xué)與思想史視野中的《中國(guó)藝術(shù)精神》[D];陜西師范大學(xué);2011年

3 李娟;王繹《寫像秘訣》研究[D];南京師范大學(xué);2011年

4 高陽(yáng);折枝花卉的審美特質(zhì)[D];南京藝術(shù)學(xué)院;2002年

5 肖鑫;唐宋時(shí)期的書(shū)畫買賣和市場(chǎng)初探[D];首都師范大學(xué);2003年

6 汪潔;閩臺(tái)宮廟壁畫研究[D];福建師范大學(xué);2003年

7 姜修憲;唐代士人的流遷與江淮文化的發(fā)展[D];曲阜師范大學(xué);2003年

8 傅怡靜;宋代山水詩(shī)與山水畫關(guān)系論[D];安徽師范大學(xué);2004年

9 陳云飛;論風(fēng)水學(xué)對(duì)山水畫論的影響[D];南京藝術(shù)學(xué)院;2004年

10 劉慶濤;唐代畫家的社會(huì)身份與繪畫職業(yè)的地位[D];華南師范大學(xué);2005年

，

本文編號(hào)：1955931