清代碑学审美思潮对吴昌硕画风的影响

发布时间：2018-04-27 04:21

本文选题：清代碑学 + 吴昌硕　；参考：《曲阜师范大学》2014年硕士论文

【摘要】：清代晚期，社会局势动荡不安，复杂的社会文化背景及其经济、政治等各种主客观因素推动了书法审美思潮的改变并促进了清代碑学的伟大复兴。由于帖学自身发展的局限性，清代碑学以其自身优势取代了盛行已久的帖学书风。清代碑学，这个与传统帖学相左的艺术形式一时大兴。受清代碑学审美思潮的影响，为了顺应时代的潮流、迎合受众的审美趣向，诸位艺坛大家开始纷纷弃帖临碑。于是，中国书法的审美思想体系发生巨变，碑学书法以其厚重、朴拙的审美风格交替取代了帖学书法审美的清淡、雅逸。自古以来的书画理论和实践证明了书法与绘画之间的密切关系，绘画领域敏感地回应着书法领域的变化。吴昌硕，作为近代中国画坛具有开创性业绩的艺术大师，将碑学书法的审美思想成功地运用到中国传统绘画中。他站在历史的交点上汇聚了传统的魅力和所处时代的时代精神，形成了自己独创性的绘画风格。这种借鉴和再创造不仅大大地拓展了中国传统绘画笔墨语言等艺术的表现形式，更将其延伸到了精神层面。吴昌硕“以书入画”的成功实践对中国传统绘画的发展起到了推波助澜的作用，并在今天仍有着非常重要的研究意义。本篇论文分为三个大的组成部分：文章第一大部分重点概述清代碑学并提出论点，，阐述梳理清代碑学的发展及其理论的提出过程与清代碑学审美思潮的转变及其原因。第二大部分重点阐述清代碑学审美思潮的转变对吴昌硕书风画风的影响。在这一部分，我首先将吴昌硕所处时代的复杂社会背景和吴昌硕的生平经历分成早、中、晚年三个时期进行简单介绍，为下文做铺垫；然后分别从书法的笔法、墨法、章法和气韵等四个部分详细分析碑学书风影响下的吴昌硕书法；最后，我将重点专注于剖析碑学审美思潮影响下的吴昌硕绘画，从“气”和“势”方面、笔墨转换方面、用色方面、造型和构图方面以及从题跋和金石入画等方面探究碑学书风对吴昌硕绘画的影响然后证明论点，这一小部分是这一章的重点，也是本文的重点。文章第三大部分作为本篇论文的总结，分析吴昌硕“引书入画”对中国传统绘画的巨大影响及现实意义。
[Abstract]:In the late Qing Dynasty, the social situation was unstable, complicated social and cultural background, economy, politics and other subjective and objective factors promoted the change of aesthetic trend of thought in calligraphy and promoted the great revival of tablet study in Qing Dynasty. Due to the limitation of its own development, the tablet study of Qing Dynasty replaced the popular style of calligraphy with its own advantages. Tablet study in the Qing Dynasty, this art form contrary to the traditional study of the art was popular for a while. Influenced by the aesthetic trend of tablet study in the Qing Dynasty, in order to conform to the trend of the times and cater to the aesthetic interest of the audience, everyone in the art circle began to abandon the tablet. As a result, the aesthetic thought system of Chinese calligraphy has changed dramatically, and tablet calligraphy has replaced the delicate and elegant aesthetic style of post calligraphy with its thick and sincere aesthetic style. The theory and practice of calligraphy and painting since ancient times have proved the close relationship between calligraphy and painting, and the field of painting sensitively responds to the changes in the field of calligraphy. Wu Changshuo, as an art master with pioneering achievements in modern Chinese painting, successfully applied the aesthetic thought of tablet study and calligraphy to Chinese traditional painting. Standing at the intersection of history, he converged the traditional charm and the epoch spirit of his time, and formed his own original painting style. This kind of reference and re-creation has not only greatly expanded the expression forms of Chinese traditional painting, brush and ink language, but also extended it to the spiritual level. Wu Changshuo's successful practice of "entering painting with Books" has played an important role in the development of Chinese traditional painting, and still has a very important research significance today. This paper is divided into three major parts: the first part of the article focuses on the introduction of the Qing Dynasty tablet study and put forward the argument, and expounds the development of the Qing Dynasty tablet study and the development of the theory and the change of aesthetic trend of thought of the Qing Dynasty tablet study and its reasons. The second part focuses on the influence of the change of aesthetic trend of tablet study on Wu Changshuo's style of calligraphy and painting. In this part, I first divided the complex social background of Wu Changshuo era and Wu Changshuo's life experience into early, middle and late years to make a brief introduction for the following; then from the calligraphy method, ink method, I will focus on the analysis of the Wu Changshuo painting under the influence of the aesthetic trend of tablet studies, from the aspects of "Qi" and "potential", and from the aspects of pen and ink conversion, I will focus on the analysis of Wu Changshuo calligraphy under the influence of the style of calligraphy and calligraphy. In terms of color, shape and composition, and from the aspects of inscriptions and inscriptions, the influence of calligraphy style on Wu Changshuo painting is explored, and then the argument is proved. This small part is the focus of this chapter and is also the focus of this paper. The third part is a summary of this paper, analyzing Wu Changshuo's great influence on Chinese traditional painting and its practical significance.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】