發(fā)布時(shí)間：2018-10-23 06:34

【摘要】：在諸多的繪畫題材中,文人在書畫創(chuàng)作時(shí)往往選擇一些能夠代表其高尚品德的事物。中國(guó)花鳥畫創(chuàng)作有別于西方繪畫,在創(chuàng)作時(shí),會(huì)根據(jù)表現(xiàn)題材的自然屬性,用賦比興的手法賦予對(duì)象以象征含義,最后采用藝術(shù)夸張的方式來(lái)表現(xiàn)作者所思所想。“四君子”題材恰好契合了文人獨(dú)立的人格和清逸的精神追求,因而也就成了最受文人雅士們親睞的題材。梅蘭竹菊結(jié)構(gòu)簡(jiǎn)單,容易掌握,適合入畫,也就成了經(jīng)久不衰的表現(xiàn)題材,相關(guān)的研究成果也較豐富,然而大多只是簡(jiǎn)單論述,并沒(méi)有形成系統(tǒng)的理論體系。就“四君子”題材的繪畫實(shí)踐而言,當(dāng)下更顯得沉寂落寞,筆者認(rèn)為有必要將該題材的畫論畫史進(jìn)行整理歸納。本論文將從“四君子”的繪畫歷史,代表性畫家的表現(xiàn)形式及藝術(shù)語(yǔ)言風(fēng)格,以及各題材的歷代繪畫論著等幾個(gè)方面,來(lái)系統(tǒng)歸納研究該題材的形成演化過(guò)程及繪畫史上的地位,進(jìn)而分析梅蘭竹菊題材的人文意涵。唐朝之前,四君子題材仍屬于萌芽階段,所見作品并不成熟。由于文人士大夫階層的不斷擴(kuò)大,四君子題材受到推崇,在唐宋時(shí)期得以迅速發(fā)展。發(fā)展到明清時(shí)期,該題材已經(jīng)得到畫家們的極力推崇,留下眾多的優(yōu)秀作品,并發(fā)展到一定的高峰。該題材的成熟表現(xiàn)在以下幾點(diǎn)：一、筆墨,每個(gè)畫家都在獨(dú)特筆墨語(yǔ)言中注入自身精神內(nèi)涵；二、構(gòu)圖形式,代表性畫家繪制的梅蘭竹菊題材,都有著自己獨(dú)特的構(gòu)圖樣式。梅蘭竹菊題材發(fā)展至今,在西方藝術(shù)思潮的沖擊和時(shí)人審美觀念的轉(zhuǎn)變中已經(jīng)逐漸式微,如何將傳統(tǒng)文人畫題材中的“梅蘭竹菊”適應(yīng)現(xiàn)代審美取向是一個(gè)亟待研究的問(wèn)題。
[Abstract]:In many painting subjects, the literati often choose something which can represent their noble character in painting and calligraphy creation. The creation of Chinese flower and bird painting is different from western painting. In the process of creation, according to the natural attribute of the subject matter, the object is endowed with symbolic meaning by the method of Fu Bixing, and the author's thoughts and thoughts are expressed in the form of artistic exaggeration. The theme of "four Gentlemen" coincides with the independent personality of literati and the spiritual pursuit of Qingyi. Meilan bamboo chrysanthemum has a simple structure, easy to grasp, suitable for painting, it has become a long-lasting performance theme, related research results are also relatively rich, but most of them are simply discussed, and do not form a systematic theoretical system. As far as the painting practice of "four Gentlemen" is concerned, it is more silent and lonely at present. The author thinks that it is necessary to sort out the painting history of this subject. This thesis will focus on the painting history of the "four Gentlemen", the expression form and artistic language style of the representative painters, as well as the painting works of the past dynasties on various subjects, etc. To systematically study the formation and evolution of the subject and the position in the history of painting, and then analyze the cultural implications of the theme of Meilan bamboo and chrysanthemum. Before the Tang Dynasty, the subject matter of the four Gentlemen was still in its infancy, and the works it had seen were not mature. Due to the expansion of literati and officials, the subject matter of the four Gentlemen was highly praised and developed rapidly in the Tang and Song dynasties. By the Ming and Qing dynasties, the subject had been highly praised by painters, leaving many excellent works, and developed to a certain peak. The maturity of the subject is shown in the following aspects: first, each painter injects his own spiritual connotation into the unique language of pen and ink; second, the composition form, the representative painter draws the theme of Mei Lan bamboo and chrysanthemum, all have their own unique composition style. So far, the theme of Mei Lan bamboo and chrysanthemum has gradually declined in the impact of western artistic trend of thought and the change of people's aesthetic concept. How to adapt the "Meilan bamboo chrysanthemum" in the traditional literati painting subject matter to the modern aesthetic orientation is an urgent problem to be studied.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J212

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