所知与所见：宋徽宗《五色鹦鹉图》考及宋画翎毛考证
发布时间：2018-12-30 18:16
【摘要】：在世界艺术史上从古希腊雕刻、宋代绘画和意大利文艺复兴艺术这三个再现艺术高峰中,宋人以重视写生著称,而宋代花鸟画研究当以辨识花鸟为基本前提。一部完善的花鸟画史,也应把相当部分留给描绘对象,可长期以来,研究者不注重自然科学方法,遂使画史因循守旧而成陈词滥调,使人对感知实物真相有愈隔愈远之憾。本文以鸟类学和植物学的精湛知识,结合对宋代文献的扎实考证,以及作者本人作为花鸟画家的经验,在艺术和科学,感性和理性之间架起了一座桥梁,实现了其对立统一,从而向世人揭示了宋代绘画认知结构、发展规律和特有魅力。本文以徽宗的存世作品作为主要研究方向,分为两个部分。第一部分是以《五色鹦鹉图》作为个案微观研究,在梳理徽宗存世作品的基础上澄清了宋徽宗作画习惯和工作环境。通过对五色鹦鹉的品种、来源、色彩及徽宗作品、诗词等诸多相关问题的讨论,折射出那个时代的政治、外交、社会及宋人的认识、思想、情感等方方面面。第二部分是第一部分所用方法的延伸,首先对现存宋代绘画中的鸟类进行了辨识分类并整理成表,这是一项基础性的宏观层面上的工作。其次详细考证了与徽宗相关的其它三张作品《柳鸦芦雁图》、《写生珍禽图》和《梨花鹦鹉图》,通过科学考证,结合传统的美术史研究方法和手段,对宋代绘画的真伪、传承和创作年代的断定等方面上得出了新的研究成果,并对某些似是而非的美术史观点提出批判。
[Abstract]:In the history of world art from the ancient Greek sculpture, Song Dynasty painting and Italian Renaissance art of the three reproduction art peak, Song people are known for attaching importance to sketching, and the Song Dynasty flower and bird painting research should be based on the identification of flowers and birds as the basic premise. A perfect history of flower-and-bird painting should also leave a considerable part to the object of description, but for a long time, researchers did not pay attention to natural science methods, thus making the history of painting become clich 茅 s and clich 茅 s, which makes people feel more and more distant from the truth of material objects. Based on the consummate knowledge of ornithology and botany, combined with the solid textual research on the literature of the Song Dynasty, and the author's experience as a flower and bird painter, this paper builds a bridge between art and science, sensibility and reason, and realizes the unity of opposites. It reveals the cognitive structure, development law and special charm of painting in Song Dynasty. In this paper, Huizong's works of the world as the main research direction, divided into two parts. The first part is a case study of the five-color parrot, which clarifies the painting habits and working environment of Huizong in Song Dynasty on the basis of combing the existing works of Huizong. Through the discussion of the varieties, sources, colors and works of Huizong, poetry and other related issues of the multicolored parrot, it reflects the political, diplomatic, social and Song people's understanding, thought, emotion and other aspects of that era. The second part is the extension of the methods used in the first part. Firstly, the birds in the painting of the Song Dynasty are identified and classified into tables, which is a basic work on the macro level. Secondly, it makes a detailed study of the other three works related to Huizong, "Liu-Raven Goose Pictures", "sketching rare Birds" and "Pear Parrot Pictures". Through scientific research and combining with traditional art history research methods and means, the authenticity of the paintings of the Song Dynasty is discussed. New research results have been obtained from inheritance and the determination of creative age, and some specious viewpoints on art history have been criticized.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J212
[Abstract]:In the history of world art from the ancient Greek sculpture, Song Dynasty painting and Italian Renaissance art of the three reproduction art peak, Song people are known for attaching importance to sketching, and the Song Dynasty flower and bird painting research should be based on the identification of flowers and birds as the basic premise. A perfect history of flower-and-bird painting should also leave a considerable part to the object of description, but for a long time, researchers did not pay attention to natural science methods, thus making the history of painting become clich 茅 s and clich 茅 s, which makes people feel more and more distant from the truth of material objects. Based on the consummate knowledge of ornithology and botany, combined with the solid textual research on the literature of the Song Dynasty, and the author's experience as a flower and bird painter, this paper builds a bridge between art and science, sensibility and reason, and realizes the unity of opposites. It reveals the cognitive structure, development law and special charm of painting in Song Dynasty. In this paper, Huizong's works of the world as the main research direction, divided into two parts. The first part is a case study of the five-color parrot, which clarifies the painting habits and working environment of Huizong in Song Dynasty on the basis of combing the existing works of Huizong. Through the discussion of the varieties, sources, colors and works of Huizong, poetry and other related issues of the multicolored parrot, it reflects the political, diplomatic, social and Song people's understanding, thought, emotion and other aspects of that era. The second part is the extension of the methods used in the first part. Firstly, the birds in the painting of the Song Dynasty are identified and classified into tables, which is a basic work on the macro level. Secondly, it makes a detailed study of the other three works related to Huizong, "Liu-Raven Goose Pictures", "sketching rare Birds" and "Pear Parrot Pictures". Through scientific research and combining with traditional art history research methods and means, the authenticity of the paintings of the Song Dynasty is discussed. New research results have been obtained from inheritance and the determination of creative age, and some specious viewpoints on art history have been criticized.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J212
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