游走在“山水”和“花鸟”之间——恽南田绘画研究

发布时间：2018-05-20 10:49

本文选题：恽南田 + 山水　；参考：《浙江大学》2015年硕士论文

【摘要】：在中国绘画史上,山水画和花鸟画独立成科以后,它们之间相互借鉴、渗透。继而,介于山水和花鸟之间的作品也屡见不鲜。本文通过对历代此类作品的梳理,笔者发现这些作品虽然有相互借鉴融合的迹象,但是,直至明末清初,恽南田自发枢机,明确提出了将山水与花鸟融合的画法,并有意识地付诸实践。本文分析了恽南田的传世作品和画论,其中有很多作品带有将山水花鸟融合的探索意味,他既在花鸟画中运用了传统的山水树石法和断云的处理手法,也在水墨山水中独创花鸟形式的以色写竹法等。同时他的题跋、画论等亦多有这方面的体现。本文从恽南田对枯木竹石以及传统山水、花鸟的师承和其自身重视写生与创新的绘画思想等几个方面,对他的这种介于山水和花鸟之间的绘画做了详细分析和追溯,探析恽南田此类绘画的表现形式和原因。
[Abstract]:In the history of Chinese painting, landscape painting and flower-and-bird painting became an independent family, they learn from each other and permeate each other. Then, between the landscape and flowers and birds between works are also common. By combing the works of the past dynasties, the author finds that although there are signs of mutual reference and fusion of these works, Yun Nantian spontaneously cardinally put forward the painting method of merging landscape with flowers and birds until the late Ming and early Qing dynasties. And consciously put it into practice. In this paper, Yun Nantian's works and painting theory are analyzed. Many of his works have the meaning of exploring the fusion of landscape, flowers and birds. He not only uses the traditional methods of landscape, tree, stone and cloud breaking in his flower-and-bird paintings, Also in the ink landscape in the original form of flowers and birds with color to write bamboo and so on. At the same time, his postscript, painting theory and so on also have this aspect embodiment. In this paper, Yun Nantian makes a detailed analysis and tracing back to this kind of painting between mountains and rivers and flowers and birds from several aspects, such as dead wood, bamboo and stone, traditional mountains and rivers, flowers and birds, their teachers' inheritance and their own emphasis on sketching and innovating painting ideas. Analysis of Yun Nantian this kind of painting expression form and reason.
【学位授予单位】：浙江大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J212

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