元代花鸟画的写意性手法在创作中的表现

发布时间：2018-03-12 11:03

本文选题：元代花鸟画　切入点：审美新高度　出处：《山东工艺美术学院》2013年硕士论文　论文类型：学位论文

【摘要】：元代花鸟画作为一个起承转折的高峰点，既追求放逸的笔墨意味和强化主观抽象的审美意识，又传承和发展了五代两宋院体花鸟画格物致真的写实精神，将花鸟画的形似与神似统一融合在一起，在当时形成了中国花鸟画史上的一个审美新高度。本文结合毕业创作课题对元代花鸟画写意性内容及其表现形式进行探索研究，通过文献研究，史料对比，理论分析，图像解读等研究方法对其进行整理、分析、归纳、总结，形成一套适合于自己的艺术创作理论依据，再结合对于毕业创作的构思形成，主题定位，题材选择，形式体现，设色表达等方面再现元代绘画的写意性内容及墨花墨禽的水墨图式。通过理论学习与实践检验，总结出元代绘画的写意性特点，思考产生这些特点的原因以及他们所带来的影响与所促成的改变，审思过去并借鉴于当下的工笔、写意花鸟画创作当中。
[Abstract]:The flower and bird painting in Yuan Dynasty, as a peak point of transition, not only pursues the meaning of freeing pen and ink and strengthens the subjective and abstract aesthetic consciousness, but also inherits and develops the realistic spirit of painting style of flower and bird painting in Song Dynasty and Song Dynasty. Combining the similarity of flower and bird painting with the likeness of gods and gods, it formed a new aesthetic height in the history of flower and bird painting in China at that time. This paper explores and studies the content of freehand brushwork and its forms of expression in the flower-and-bird painting of Yuan Dynasty in combination with the subject of graduation creation. Through literature research, historical data contrast, theoretical analysis, image interpretation and other research methods to sort, analyze, summarize, summarize, form a set of artistic creation theory basis suitable for their own, and then combine with the conception of graduation creation to form. Theme orientation, theme selection, form embodiment, color expression, etc. Through theoretical study and practical test, summed up the characteristics of the Yuan Dynasty painting freehand brushwork, thinking about the causes of these characteristics, and the impact they bring and the resulting changes, think about the past and draw lessons from the current fine brushwork. Freehand brushwork flowers and birds painting creation.
【学位授予单位】：山东工艺美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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