發(fā)布時(shí)間：2018-08-06 14:44

【摘要】：對(duì)于繪畫的研究，最終要?dú)w結(jié)到對(duì)畫面的形式感體驗(yàn)上來(lái)。對(duì)工筆花鳥畫的形式研究，尤其是在當(dāng)下多元文化交融的今天，對(duì)工筆花鳥畫形式感的研究就更有新的意義。 宋人花鳥畫是中國(guó)工筆花鳥畫的高峰，表達(dá)內(nèi)容和畫面形式感已經(jīng)達(dá)到了高度的統(tǒng)一，是盡精微、致廣大的典范，畫家通過(guò)對(duì)花草魚蟲的精彩刻畫表達(dá)出畫家對(duì)生活的理解和熱愛。宋人花鳥畫，是后人學(xué)習(xí)花鳥畫的樣本，在技法表現(xiàn)上已經(jīng)有了完善的體系，無(wú)論勾線、上色，翎羽花草的線上的表達(dá)，還是顏色上的表達(dá)，都達(dá)到了前所未有的高度。后來(lái)一脈相承的工筆花鳥畫，有黃家富貴徐熙野逸，畫家們對(duì)花鳥的表現(xiàn)進(jìn)行著不懈的探索。隨著后來(lái)寫意畫的發(fā)展，工筆花鳥畫勢(shì)微，但也涌現(xiàn)出像陳洪綬、惲南田等花鳥畫家的革新者，賦予工筆花鳥畫新的形式新的發(fā)展，對(duì)工筆花鳥的發(fā)展做出巨大的貢獻(xiàn)。 當(dāng)今的社會(huì)是一個(gè)更加開放的社會(huì)，“筆墨當(dāng)隨時(shí)代”當(dāng)下的花鳥畫表達(dá)是當(dāng)下人們審美感受的體現(xiàn)，繪畫滿足當(dāng)下人們的審美需求。隨著中國(guó)的改革開放，新思潮的涌入，對(duì)當(dāng)下的工筆花鳥帶來(lái)了新的思想，推動(dòng)了現(xiàn)代工筆畫的快速發(fā)展�，F(xiàn)代的思潮促成現(xiàn)代的工筆繪畫表現(xiàn)內(nèi)容和新的形式語(yǔ)言。面對(duì)新的思潮，面臨著推動(dòng)現(xiàn)代工筆畫向前發(fā)展和繼承傳統(tǒng)工筆花鳥畫精髓的雙重責(zé)任。本課題的用意在于，通過(guò)對(duì)中國(guó)工筆花鳥畫發(fā)展過(guò)程中，形式語(yǔ)言發(fā)展的脈絡(luò)研究，，梳理出一條關(guān)于工筆花鳥畫精神線路。從形式本身的點(diǎn)出發(fā)，由點(diǎn)到面，試著探索關(guān)于中國(guó)花鳥畫的某些精髓的東西，探索關(guān)于工筆花鳥畫形式變化所被牽引的精神。 本課題結(jié)合自己最近所做的繪畫實(shí)踐創(chuàng)作，由理論層面結(jié)合繪畫實(shí)踐，爭(zhēng)取最大程度體會(huì)本課題所做的試探性研究。
[Abstract]:The study of painting will ultimately be attributed to the experience of the form sense of the picture. The study of the form of flower and bird painting, especially in today's multicultural blend, is more of a new significance to the study of the sense of form of flower and bird painting.
The flower and bird painting in the Song Dynasty is the peak of Chinese flower and bird painting. The expression content and the form sense of the picture have reached a high degree of unity. It is the best example. The painter expresses the understanding and love of the painter through the wonderful depiction of the flowers and insects. The song and bird painting is the sample for the later generations to learn the flower and bird painting. After a perfect system, whether the line, color, feathers, flowers and flowers are expressed on the line, or the expression of color, it has reached an unprecedented height. Later on, the painter and bird painting, with the rich and precious Xu Xiye of the Huang family, explored the performance of the flowers and birds. With the development of later freehand painting, the painting and bird painting However, the innovators, like Chen Hongshou, Yun Nan Tian and other flower and bird painters, have given a new form of flower and bird painting and made great contributions to the development of flowers and birds.
Today's society is a more open society. The expression of the flower and bird painting in the present era is the embodiment of the aesthetic feeling of the people. The painting meets the aesthetic needs of the people. With the reform and opening of China, the influx of new trends of thought has brought new ideas to the present flower and bird belt, which has promoted the rapid development of modern painting. In the face of the new trend of thought, the modern trend of thought is faced with the dual responsibility of promoting the development of modern brushwork and inheriting the essence of traditional brushwork and bird painting. The purpose of this topic is to study the development of formal language in the development process of Chinese flower and bird painting. From the point of form itself, from the point of view, we try to explore some of the essence of Chinese flower and bird painting, and explore the spirit of the change in the form of flower and bird painting.
This topic combines with my recent painting practice creation, combines the theory level with the painting practice, strives to realize the tentative research which this topic has done to the greatest extent.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 龍昭陽(yáng);;“黃家富貴,徐熙野逸”花鳥畫范式的建立與發(fā)展[J];美術(shù)向?qū)?2009年02期

2 易存國(guó);;“墨分五色”論:“水墨為上”之關(guān)要[J];文藝研究;2013年08期

本文編號(hào)：2168058