明代写意花鸟画艺术风格阶段性变异研究

发布时间：2018-03-11 07:05

本文选题：明代　切入点：写意花鸟画　出处：《江苏师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：明代是中国美术发展史上的重要的时期,山水、花鸟、人物全面发展,绘画风貌也有所创新。明代绘画大致可以分为早、中、晚三个阶段,这三个阶段既互相联系又有所区别。就写意花鸟而言,其发展有着较为明显阶段性,各个阶段的风格也有着较大的差异。本文宏观阐述了写意花鸟画不同阶段的艺术风格,并以各阶段具有代表性的画家作品为例,重点分析画家的创作意图、题材、技法等方面的变异情况,这些方面的变异又影响了与之息息相关的审美意境:明代初期的花鸟画主流在宫廷,其沿袭了宋代宫廷院体的风格,但也呈现出不同于宋代绘画的艺术风格。早期绘画风格样式混杂多样,审美意趣在富丽堂皇的院体意识中又渗入了开国统治者的豪迈情怀,呈现出刚健清新的时代新气象。中期写意花鸟画的转变主要以“吴门画派”为代表,其在简逸清雅的文人花鸟画中融入了市民的世俗情怀,雅俗共赏,这一时期的写意花鸟绘画从孤芳清高的经典走向大众化、世俗化的趋势。到了晚期,花鸟画中的情绪抒写因素加强,以徐渭为代表的大写意画风不拘于规矩成法,追求个性解放的思想顺应时代潮流而生,并在画坛占据了强势的主流地位。任何事物的发生发展都有其特定的历史、人文环境以及自然环境,明代的写意花鸟画艺术风格阶段性变异受到多种因素的影响和制约,既受到统治者专制统治的制约,又受当时文学、哲学思潮的影响,在花鸟画沿着自身的发展规律前进时,经济的繁荣和“书法入画”又进一步推进了花鸟画的变异。这种种原因在各个阶段影响大小主次不同而已。当然,画家们追奇求新的意识,也在各种主客观因素的作用下一步步推动新的水墨写意画风的成熟。
[Abstract]:The Ming Dynasty was an important period in the history of the development of Chinese fine arts, with the overall development of landscape, flowers and birds, and the overall development of characters, as well as some innovations in painting style. The painting of the Ming Dynasty can be roughly divided into three stages: early, middle and late. These three stages are related and different from each other. As far as freehand brushwork flowers and birds are concerned, their development has obvious stages, and the styles of each stage are also quite different. This paper expounds the artistic styles of the different stages of freehand brushwork flower-and-bird painting. Taking the representative works of painters in various stages as an example, the paper focuses on analyzing the variation of artists' creative intention, subject matter, techniques and so on. The variation of these aspects affected the aesthetic conception closely related to it: the mainstream of flower and bird painting in the early Ming Dynasty was in the court, which followed the style of the court of the Song Dynasty. But it also showed a different artistic style from the painting of the Song Dynasty. The early painting styles were mixed and varied, and aesthetic interest permeated the heroic feelings of the founding rulers in the magnificent sense of the courtyard style. The change of the mid-period freehand brushwork is mainly represented by the "Wu Men painting School", which integrates the common feelings of the citizens in the simple and elegant literati flowers and birds paintings, and enjoys the elegance and common appreciation of the people. In this period, the freehand brushwork painting of flowers and birds moved from the classical to the popularization and the trend of secularization. In the late period, the emotional expression factors in the flower-and-bird paintings were strengthened, and Xu Wei's style of large freehand brushwork was not restricted to the rules. The thought of pursuing personality liberation is born in accordance with the trend of the times, and occupies a strong mainstream position in the painting world. The occurrence and development of anything has its own specific history, humanistic environment and natural environment. The artistic style variation of freehand brushwork and bird painting in Ming Dynasty was influenced and restricted by many factors, not only by the autocratic rule of the ruler, but also by the literary and philosophical trend of thought at that time, while the flower-and-bird painting was advancing along its own development law. The prosperity of the economy and the "calligraphy and painting" have further promoted the variation of the flower-and-bird painting. All these reasons have influenced the major and secondary aspects of each stage. Of course, the painters' consciousness of seeking novelty in pursuit of wonder, Also in a variety of subjective and objective factors under the role of a step by step to promote the new style of freehand ink painting mature.
【学位授予单位】：江苏师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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