陈洪绶怪诞美的艺术形成研究

发布时间：2018-05-28 20:46

本文选题：陈洪绶 + 绘画风格　；参考：《云南师范大学》2013年硕士论文

【摘要】：陈洪绶是中国古代的绘画历史史上，一位有着独特个人风格，异于历代大师的画家。以怪诞奇崛的独特审美风格独树一帜，，在画法上远承唐宋，融合元明，在清初曾被正统派的文人画理论家视为野恶，在绘画技术和美学思想上启迪了当代和后世的许多艺术家，其生平的事迹也在他身生前生后不断被世人记录、著录、研究。陈洪绶的绘画特色，异于历代名家，他的原因包括四个方面：一是时代因素影响，陈洪绶生活在明清动乱时期，当时是一个朝政不振、国家危亡和个性解放的时代；第二是他崇古，陈洪绶的人物画的师承经历为初学宋人李公麟，后来学唐人周f 及其五代贯休，晚年也学顾恺之的“高古游丝描”。但他的法古追古崇古，并不是一种盲目崇拜，停留于表面仿古，而是融合了他自己独特的个人理解，深入到他的绘画的本质、绘画的精神气质中，最终形成有着自己独特个性的风格。第三是同一时期画坛的影响，陈洪绶早期绘画作品，受到了蓝瑛影响。在造型图式方面，丁云鹏对他也有着深刻影响。另外，他也受到了同时期画家的一些奇伟怪骇的绘画风格影响比如徐渭；第四是他艺术个性的一个改变，传统三教的影响，丰富了陈洪绶的绘画特点，在理论上了又提出“神家、名家、作家、匠家”区分。此外，陈洪绶对唐、宋和元各自的绘画特点认识的深刻见解，也是当时的画坛所没有的。这种认识也是他最终形成自己独特的，异于古人绘画特色的一个重要原因。他是对后世直至当代中国人物画家产生重大影响的画家，他的身处年代，他的个人经历，他的身份特征造就了他的绘画怪诞风格，他的画无论是从构图还是人物造型还是勾线设色，都有着严谨的态度，因此他的画可以说是怪诞但也是极有章法的，所以说他的画既继承了传统又不拘泥于传统，本文对陈洪绶的绘画风格进行详尽地研究、考察，并结合他的身份生活经历特征，分析导致这种风格的原因及其转变过程，结合哲学的角度分析陈洪绶怪诞风格的艺术美所在，通过他的遗民身份，结合他的人物画画风变异特点，分析阐述陈洪绶的绘画思想的学术价值，本文致力于多角度审视问题、灵活运用各种研究方法，力求做到史论结合，论从史出，注意理论与绘画实践的相互印证。在研究过程中还会适当参照、引用前人的部分研究成果，来佐证我的观点，以期达到研究目的。
[Abstract]:In the history of ancient Chinese painting, Chen Hongshou is a painter who has unique personal style and different from the masters of the past dynasties. With unique unique aesthetic style, he distinguished himself from the Tang and Song Dynasties and the fusion of yuan and Ming in the painting method. In the early Qing Dynasty, the literary theorist of the orthodox school regarded it as a wild evil, and enlightened the contemporary art and aesthetics. And many artists of later generations, their deeds of life were recorded, recorded and studied after he was born.
Chen Hongshou's painting features are different from those of the past dynasties. His reasons include four aspects: one is the influence of the times, and Chen Hongshou lives in the period of the turmoil in the Ming and Qing Dynasties. At that time, it was an era of the state's peril and the emancipation of the individual; the second is that he praised the ancient and Chen Hongshou's figure painting experience for the first study of Li Gonglin of the Song Dynasty and later on the Tang Dynasty. In his late years, F and his five generation had also studied Gu Kai's "high ancient silk drawing". However, his French ancient pursuit of ancient times was not a blind worship and stayed on the surface of antiquity, but fused his own unique personal understanding, deep into the essence of his painting, and in the spirit of painting, finally formed his own unique personality style. The third is the influence of the same period of painting, Chen Hongshou's early paintings are influenced by blue Ying. In the shape schema, Ding Yunpeng has a profound influence on him. In addition, he has also been influenced by some extraordinary painting styles of the same period painters, such as Xu Wei; fourth is a change in his artistic personality and the shadow of the traditional three religions. It enriches the characteristics of Chen Hongshou's painting, and puts forward the distinction between "the gods, the masters, the writers and the craftsmen" in theory. In addition, Chen Hongshou has a profound understanding of the characteristics of Tang and Song Heyuan's painting characteristics, which is also not the one of the painting world at that time. This is also an important idea that he finally formed his own unique and different from the painting features of the ancients. Reason.
He is a painter who has a great influence on the later generations of Chinese figure painters. His age, his personal experience, his identity and his identity have created his grotesque style of painting. His paintings, whether from composition or figure or line, have a rigorous attitude, so his paintings can be said to be grotesque but also extreme. There are rules, so that his paintings not only inherit the tradition but not adhere to the tradition, this article studies Chen Hongshou's painting style in detail, inspects, and combines his identity life experience characteristics, analyzes the causes of this style and the process of transformation, and combines the angle of philosophy to analyze the artistic beauty of Chen Hongshou's grotesque style, through which the artistic beauty of the style is analyzed. The identity of his people, combined with the characteristics of his character painting wind variation, analyzes and expounds the academic value of Chen Hongshou's painting ideas. This article is devoted to examining the problems in many angles and using various research methods flexibly, striving to achieve the combination of historical theories, from the history of history, to the mutual proof of the theory and the practice of painting. I quote some previous research results to support my point of view so as to achieve the purpose of research.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J209.2

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