孫隆沒(méi)骨花鳥(niǎo)畫藝術(shù)特點(diǎn)研究
發(fā)布時(shí)間：2018-08-11 15:21
【摘要】：“沒(méi)骨圖”名稱是由北宋花鳥(niǎo)畫家徐崇嗣所創(chuàng)。明前期杰出的花鳥(niǎo)畫家孫隆繼承和發(fā)展了北宋徐崇嗣的“畫花不墨卷”的沒(méi)骨畫,融合了書法的用筆,拓展了沒(méi)骨花鳥(niǎo)畫技法,豐富了“沒(méi)骨”的表現(xiàn)力,發(fā)展了前人的沒(méi)骨花鳥(niǎo)畫。我們研究孫隆的沒(méi)骨花鳥(niǎo)畫藝術(shù)特點(diǎn),是從一個(gè)側(cè)面來(lái)反映中國(guó)沒(méi)骨花鳥(niǎo)畫的藝術(shù)特點(diǎn)、發(fā)展變化以及藝術(shù)成就,有助于我們理清中國(guó)沒(méi)骨花鳥(niǎo)畫藝術(shù)的獨(dú)特魅力和價(jià)值。本畢業(yè)論文試圖從分析沒(méi)骨花鳥(niǎo)畫在不同時(shí)期表現(xiàn)出的藝術(shù)特點(diǎn)以及發(fā)展歷程作為論文主題的切入點(diǎn),在此基礎(chǔ)上探討孫隆沒(méi)骨花鳥(niǎo)畫的藝術(shù)風(fēng)格特點(diǎn),最后結(jié)合其同時(shí)期以及當(dāng)代畫家所創(chuàng)作的作品來(lái)對(duì)比分析孫隆沒(méi)骨花鳥(niǎo)畫藝術(shù)特點(diǎn)在不同時(shí)代花鳥(niǎo)畫中的運(yùn)用和創(chuàng)新。他的畫作代表了明代宮廷沒(méi)骨花鳥(niǎo)畫時(shí)期風(fēng)格,在繼承了宋元時(shí)期沒(méi)骨花鳥(niǎo)畫的藝術(shù)韻味又不失其獨(dú)特的創(chuàng)新點(diǎn)。他的作品旨在突出個(gè)性趣味,強(qiáng)調(diào)筆墨情趣,追求意境的形式美,氣韻生動(dòng),將宮廷繪畫中的富麗華貴和水墨繪畫中的閑情野逸巧妙地融為一體。給明代宮廷畫家以及后世都產(chǎn)生了長(zhǎng)足的影響,在中國(guó)花鳥(niǎo)畫發(fā)展的歷史領(lǐng)域中做出了很大的貢獻(xiàn)。
[Abstract]:The name "Bones without bones" was coined by Xu Chongsi, a flower and bird painter in the Northern Song Dynasty. In the early Ming Dynasty, Sun long, an outstanding painter of flowers and birds, inherited and developed the boneless paintings of Xu Chongsi in the Northern Song Dynasty, merged the calligraphy pen, expanded the techniques of flower-and-bird painting without bones, and enriched the expressive power of "no bones". Developed the previous boneless flowers and birds painting. Our research on the artistic characteristics of Sun long's boneless flower and bird painting is to reflect the artistic characteristics, development and achievements of Chinese boneless flower and bird painting from one side, which will help us to understand the unique charm and value of Chinese boneless flower and bird painting art. This thesis attempts to analyze the artistic characteristics and development process of the flower and bird painting without bone in different periods as the entry point of the thesis, and then discusses the artistic style characteristics of the flower and bird painting without bone in Sun long. Finally, combining the works of the same period and contemporary painters, this paper compares and analyzes the application and innovation of the artistic characteristics of Sun long's flower and bird painting without bone in different times. His paintings represent the style of the Ming Dynasty court no bone flowers and birds painting period, in the Song and Yuan dynasties no bone flowers and birds painting artistic flavor without losing its unique innovation. His works aim to highlight his personality, emphasize the taste of pen and ink, pursue the formal beauty of artistic conception and vividly rhyme, and combine the rich beauty of court painting with the ease of leisure in ink painting. It has made great contribution to the development of Chinese flower and bird painting.
【學(xué)位授予單位】：青島科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
本文編號(hào)：2177388
[Abstract]:The name "Bones without bones" was coined by Xu Chongsi, a flower and bird painter in the Northern Song Dynasty. In the early Ming Dynasty, Sun long, an outstanding painter of flowers and birds, inherited and developed the boneless paintings of Xu Chongsi in the Northern Song Dynasty, merged the calligraphy pen, expanded the techniques of flower-and-bird painting without bones, and enriched the expressive power of "no bones". Developed the previous boneless flowers and birds painting. Our research on the artistic characteristics of Sun long's boneless flower and bird painting is to reflect the artistic characteristics, development and achievements of Chinese boneless flower and bird painting from one side, which will help us to understand the unique charm and value of Chinese boneless flower and bird painting art. This thesis attempts to analyze the artistic characteristics and development process of the flower and bird painting without bone in different periods as the entry point of the thesis, and then discusses the artistic style characteristics of the flower and bird painting without bone in Sun long. Finally, combining the works of the same period and contemporary painters, this paper compares and analyzes the application and innovation of the artistic characteristics of Sun long's flower and bird painting without bone in different times. His paintings represent the style of the Ming Dynasty court no bone flowers and birds painting period, in the Song and Yuan dynasties no bone flowers and birds painting artistic flavor without losing its unique innovation. His works aim to highlight his personality, emphasize the taste of pen and ink, pursue the formal beauty of artistic conception and vividly rhyme, and combine the rich beauty of court painting with the ease of leisure in ink painting. It has made great contribution to the development of Chinese flower and bird painting.
【學(xué)位授予單位】：青島科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 荊桂秋;;明代孫隆沒(méi)骨花鳥(niǎo)畫研究[J];書畫世界;2006年02期
2 荊桂秋;;孫隆沒(méi)骨寫意花鳥(niǎo)畫新特色[J];國(guó)畫家;2004年01期
，本文編號(hào)：2177388
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