孙隆和恽寿平没骨花鸟画的比较研究

发布时间：2018-06-02 17:50

本文选题：孙隆 + 恽寿平　；参考：《西安美术学院》2016年硕士论文

【摘要】：没骨花鸟画是中国传统绘画中一个独特的类型,其在产生和发展过程中主要经历了四个重要的时期。北宋徐崇嗣结合“徐熙野逸”和“黄家富贵”风格创制出没骨图,此谓没骨花鸟画的形成期;明代孙隆结合写意画法发展出写意没骨花鸟画新形态,这是没骨花鸟画的发展期;清初恽寿平以雅俗共赏的没骨花鸟画形态“一洗时习,别开生面”,这是没骨花鸟画的成熟期;清中后期的居廉居巢结合前人没骨花鸟画法,演变出以“撞水撞粉”为主的没骨花鸟画新形态,这是没骨花鸟画的创新期。孙隆和恽寿平作为中国美术史中没骨花鸟画的代表画家,他们的没骨花鸟画都是从徐崇嗣没骨图法继承发展而来,两人虽取法同宗,却呈现出各自不同的形态。本文在前人研究成果的基础上,结合图片分析和史料研究,解析孙隆和恽寿平二人各自所处的时代背景、艺术风格的成因,以及在没骨花鸟画创作中各自的传承与创新等,通过横向的比较,分析二人没骨花鸟画的异同,从而对没骨花鸟画的发展和演变有一个全面的认识和了解,以期他们兼收并蓄的创作方法能给我们当代的没骨花鸟画创作提供借鉴和启示。
[Abstract]:Flower and bird painting without bone is a unique type in traditional Chinese painting. It has experienced four important periods in its emergence and development. In the Northern Song Dynasty, Xu Chongsi combined with "Xu Xiye Yi" and "Huang Jia Fugui" to create an infested bone picture, this is the forming period of the flower and bird painting without bone, and Sun long developed a new form of freehand brushwork without bone flower and bird painting in combination with freehand brushwork in Ming Dynasty, which is the development period of no bone flower and bird painting. At the beginning of the Qing Dynasty, Yun Shouping used to enjoy the form of "one wash, not a new face," which is the mature period of the non-bone flower and bird painting; in the middle and late Qing Dynasty, he lived in the house of Lian Lian and combined with the previous method of painting the flower and bird without bone. The new form of boneless flower and bird painting is evolved, which is the innovation period of no bone flower and bird painting. Sun long and Yun Shouping, as the representative painters in the history of Chinese art, have inherited and developed their boneless flower and bird paintings from the method of Xu Chongsi's no bone drawing. Although they adopt the same method, they present their own different forms. On the basis of the previous research results, combining with the analysis of pictures and historical data, this paper analyzes the background of the times in which Sun long and Yun Shouping live, the causes of their artistic styles, and their respective inheritance and innovation in the creation of flower-and-bird paintings without bones, etc. Through the horizontal comparison, the similarities and differences of the two people's boneless flower-and-bird paintings are analyzed, so as to have a comprehensive understanding and understanding of the development and evolution of the boneless flower-and-bird paintings. It is hoped that their all-embracing creative methods can provide us with reference and inspiration for our contemporary painting of flowers and birds without bones.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212

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