徐渭大写意花鸟“放逸”风格探析

发布时间：2018-03-06 12:30

本文选题：徐渭　切入点：大写意　出处：《江西科技师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：“逸”是一个具有鲜明民族特色的美学概念，本文以“逸”这个美学概念作为主线，贯穿到徐渭大写意花鸟画当中，探究其绘画当中所具有的独特艺术魅力。“逸”在中国传统艺术当中的最高追求就是将人生的超越在艺术作品中展开，徐渭正是追求"游戏笔墨，放逸天成"精神境界与笔墨技巧上"不求形似求生韵"的艺术化样式。他独特的文人画风格和不拘实时的"重本色"人格魅力在明代水墨大写意绘画当中体现的淋漓尽致。徐渭在明朝革新精神最强、敢于破除旧序、抒发激愤不平情感，建立了自己鲜明风格的一位艺术巨匠。他一改吴门文人画派花鸟画自然秀润、典雅静婉的绘画风格，其用笔精炼粗放、气韵生动、侧锋疾扫、气势磅礴，，形成纵逸狂放风格开创了对其之后四百余年都产生了极大影响的大写意水墨画。徐渭的作品从切身生活方式出发在痴情率真当中传达出朴实动人的生命感受，他的绘画常表现出一种纵心天成的高超境界而致使他文人境界的个性化的超逸，并将这种超逸表现在其艺术作品当中，其实就是黄休复、苏子瞻、子由所谓的放逸。将徐渭的大写意花鸟画艺术放到更为广阔的中国艺术精神的诉求当中去寻找答案，把其艺术作品在传统水墨画的基础上往前推进一大步，证明徐渭水大写意花鸟画之“放逸”才更加贴近中国文化的精髓。当然其艺术风格的形成也与晚明社会、政治、思想文化有很大关系的同时也是徐渭一生坎坷不平、狂狷人格的艺术体现。本文的创新点就是先对“逸”进行全面剖析之后。用来分析研究徐渭的艺术成就，并由此得出合理的结论。本文研究徐渭大写意花鸟“放逸”风格探析，从放逸风格的历史与现状入手，对徐渭大写意花鸟之“放逸”风格进行了解读。然后选取了八大山人之朱耷和西方绘画中的天才梵高，进行了对比分析，最终对细微大写意花鸟放逸风格的研究现实意义进行了总结。
[Abstract]:"Yi" is an aesthetic concept with distinct national characteristics. This article takes the aesthetic concept of "Yi" as the main line and runs through Xu Wei's large freehand brushwork of flower-and-bird paintings. Explore the unique artistic charm in his paintings. The highest pursuit of "Yi" in Chinese traditional art is to expand the transcendence of life in the works of art. His unique style of literati painting and his personality charm of "heavy color" reflected in the painting of large freehand brushwork in the Ming Dynasty. Incisively and vividly. Xu Wei's spirit of innovation was strongest in the Ming Dynasty. He dares to break down the old preface, express his indignant feelings, and establish an art magnate of his own distinctive style. He has changed the natural, elegant and gentle painting style of the flower-and-bird painting of the Wu Men literati school, and his pen is refined, extensive and lively. The side of the front swept, majestic, The formation of a free and wild style created a large freehand brushwork that had had a great impact on it for more than 400 years. Xu Wei's works set out from his own way of life and conveyed a simple and moving feeling of life in his infatuation and truthfulness. His paintings often show a supernatural realm of vertical heart, which results in his literati realm of individualized superlative, and the expression of this supercosm in his works of art is in fact Huang Xiufu, Su Zi-zan and Zi Yu. Put Xu Wei's large freehand brushwork of flower-and-bird painting among the demands of the broader Chinese artistic spirit to find an answer, and take his works of art to a big step forward on the basis of traditional Chinese ink painting. It is proved that the "ease" of Xu Wei-shui 's great freehand brushwork is closer to the essence of Chinese culture. Of course, the formation of his artistic style also has great relations with the society, politics, ideology and culture of the late Ming Dynasty, and it is also the bumpy of Xu Wei's life. The innovation of this paper is to analyze the artistic achievement of Xu Wei and draw a reasonable conclusion. This article studies Xu Wei's style of "letting loose" flowers and birds in big freehand brushwork, starting with the history and present situation of the style of letting go. This paper interprets Xu Wei's style of freehand brushwork of flowers and birds, and then selects Zhu Da of eight mountain people and Van Gogh, a genius in western painting, to carry out a comparative analysis. Finally, it summarizes the practical significance of the research on the style of letting off flowers and birds in fine big brushwork.
【学位授予单位】：江西科技师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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