孙隆恽寿平没骨花鸟画风格比较研究

发布时间：2018-04-04 06:02

本文选题：孙隆　切入点：恽寿平　出处：《曲阜师范大学》2017年硕士论文

【摘要】：花鸟画,是中国绘画的三大画科之一,在石器时代就已出现一些简单的花鸟图像,其独立成科的时间晚于人物画和山水画。没骨花鸟绘画属于中国花鸟画艺术的一个重要分支,没骨风格的出现不仅丰富了花鸟画的表现形式,也推动了花鸟画的发展。在没骨花鸟画艺术的发展进程中,明代与清代是最具特色的两个时期,明代画家孙隆偏写意的“粗笔”没骨风格与清代恽寿平偏工整的“细笔”没骨风格,在没骨花鸟艺术发展中极具代表性。论文主要分为四个章节,第一章主要对没骨花鸟画的特点以及起源发展进行整理;第二章以明清两代画坛画风与画家自身所受社会文化环境的影响为出发点,对孙隆与恽寿平一粗一细的没骨花鸟画风格进行探析。第三章是阐述孙隆“粗笔”与恽寿平“细笔”没骨花鸟画的风格比较,在宋元花鸟画与明清两代的审美思潮影响下,分析孙隆与恽寿平没骨花鸟艺术独特的审美特征。孙隆与恽寿平没骨花鸟绘画技法迥异,孙隆用笔潇洒,直接以彩色挥写,酣畅淋漓。在当时可谓开创一代新风,既发展了前人的没骨,又在此基础上积极创新。恽寿平用笔严谨,设色清丽,画面工整秀逸,其绘画一改前习,独辟蹊径,成为“一代之冠”。孙隆与恽寿平没骨花鸟画风格相比较,既有差异又有渊源,二者的相通之处在于文人画特质的显现。第四章探究孙隆、恽寿平没骨绘画艺术风格对后世影响。没骨绘画的发展离不开画家们的创新意识与突破精神,在继承传统的基础上进行创新,对于没骨花鸟艺术的发展具有积极意义,研究孙隆与恽寿平的绘画审美风格以及创新意识,对当代没骨花鸟艺术创作具有很好的启示作用。在研究孙隆与恽寿平没骨花鸟画风格的同时,论文对没骨花鸟画的艺术特点、发展演变进行较为系统的探究。旨在取其精华去其糟粕,在分析与比较的基础上,了解其历史和内容,以发展和创新为基础,丰富其内容和形式,以满足时代发展对于没骨艺术提出的新要求。
[Abstract]:The flower and bird painting, is one of the three major painting China painting, in the stone age, there have been some simple bird images, the independent family time later than the figure painting and landscape painting. One of the most important branches of flower and bird paintings belong to Chinese Mogu flower and bird painting, appear not only enrich the style "form of flower and bird painting also, to promote the development of flower and bird painting. In the process of development of Mogu flower bird painting art in the Ming Dynasty and Qing Dynasty, the two period is the most characteristic, the Ming Dynasty painter Sun Longpian freehand" thick pen "Qing Yun Shouping mogu style and partial neat" fine pen "" style, in the development of art in the very representative of Mogu flower bird. The thesis is divided into four chapters, the first chapter of the main features of the collation and the origin and development of flower and bird Mogu painting; the second chapter in the Ming and Qing Dynasties two generation painting style with the painter himself influenced by social and cultural environment for The starting point of Sun long of Yun Shouping Mogu flower bird painting style with a thick and thin. The third chapter is the comparison of Sun Long "thick pen" and Yun Shouping "pen" Mogu painting style, in the aesthetic trend of Song Yuan Flower and bird painting of Ming and Qing Dynasties two generations under the sun Long Yun Shou Ping and analysis "flower and bird painting unique aesthetic characteristics. And different from the sun Long Yun Shouping Mogu painting techniques, Sun Long pen to write clear, direct color. At the time, can be described as creating a fully and delightfully fresh air, which developed the previous", on the basis of positive innovation. Yun Shou Ping with strict colors Qingli, neat picture hideitsu, the painting changed before learning, inventive, become "a crown". Compared with the sun Long Yun Shouping Mogu painting style, has both difference and origin, similarities between the two is that the characteristics of literati painting appeared. The fourth chapter explores the sun Long, Yun Shouping Mogu painting art style influence on later generations. The development of Mogu painting artists cannot do without the sense of innovation and breakthrough in the spirit of innovation, on the basis of inheriting the tradition, which has a positive significance for the development of the art of flower and bird Mogu, Sun long and Yun Shouping painting aesthetic style and sense of innovation, has the enlightenment a good effect on contemporary art. The Mogu flower bird in the study of Sun Long and Yun Shouping Mogu flower bird painting style, the artistic features of "painting, the development of a more systematic study. In order to keep its essence to its dregs, based on the analysis and comparison on the understanding of its history and content. With the development and innovation as the foundation, enrich its content and form, to meet the new requirements for the development of the times" art is put forward.

【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

【参考文献】