宋代工笔花鸟画的演变与审美意蕴之探微

发布时间：2018-07-02 18:23

本文选题：北宋 + 南宋　；参考：《云南师范大学》2014年硕士论文

【摘要】：宋代的工笔花鸟画是中国花鸟画作品中的经典之作,它在中国花鸟画的发展史上占有重要的地位。我作为一个花鸟画的学习者与研究者,对宋代工笔花鸟画进行深入的了解和分析,不仅能使我获得很多理论方面的知识,而且更加有助于我今后在学习和创作中对艺术审美价值和艺术创作规律的理解和认识。我对宋代工笔花鸟画的研究主要从以下几个方面入手：首先从历史的角度入手,对北宋初期的花鸟画进行分析,比如西蜀黄筌与南唐徐熙的这两种完全不同的风格对宋代花鸟画产生的影响和形成的不同的审美品格,包括后来黄氏画风在宋初画坛中一枝独盛的局面。其次,主要从艺术本身的角度出发,阐述宋代工笔花鸟画在各个时期的发展与风格形成的关系。一是北宋花鸟画在黄家体制延续了近百年之后,开始走向新的局面。赵昌等人开始推崇写生之路、崔白等人也开始探索对大自然中野情逸趣的表现、在加上徽宗皇帝对宫廷画院的大力支持,使北宋中晚期的宫廷花鸟画风格成为了当时社会的创作主流；二是在南宋时期,画院得以重建,工笔花鸟画也出现了不同的审美品格。南宋时期的创作空间相对自由,加上受到宋代理学的影响之后,以一枝一叶作为禅机顿悟的折枝花鸟画盛行于世,形成了独特的审美魅力。第三,文章中对宋代花鸟画的演变与不同审美品格的形成做了详细的论述,最后主要还是以阐释宋代花鸟画形式语言中的审美意蕴为主。这里面主要包括花鸟画对题材的选择以及在造型、色彩方面的表现进行分析,努力揭示宋代工笔花鸟画的美学精神和创作规律。
[Abstract]:The fine brush flower-and-bird painting in Song Dynasty is a classic in Chinese flower-and-bird painting, which plays an important role in the development of Chinese flower-and-bird painting. As a learner and researcher of flower-and-bird painting, I have a deep understanding and analysis of the meticulous flower-and-bird paintings of the Song Dynasty, which not only enables me to acquire a lot of theoretical knowledge, Moreover, it will help me to understand and understand the aesthetic value of art and the law of artistic creation in my future study and creation. My research on the fine brushwork of flower-and-bird painting in Song Dynasty mainly starts from the following aspects: firstly, from the historical point of view, I analyze the flower and bird painting in the early Northern Song Dynasty. For example, the two completely different styles of Western Shu Huang Quan and Southern Tang Xu Xi had different influences on the flower and bird paintings in Song Dynasty and formed different aesthetic characters, including the situation that Huang's painting style became dominant in the early Song Dynasty. Secondly, from the point of view of art itself, this paper expounds the relationship between the development and style formation of fine brush flower and bird painting in Song Dynasty. First, the Northern Song Dynasty flowers and birds painting in the yellow family system lasted nearly a hundred years, began to move towards a new situation. Zhao Chang and others began to promote the road of sketching. Cui Bai and others also began to explore the expression of nature's wild feelings and ease, in addition to the strong support of Emperor Huizong to the court painting academy. The style of the court flower and bird painting in the middle and late Northern Song Dynasty became the mainstream of the society at that time; second, in the Southern Song Dynasty, the painting institute was rebuilt, and the fine brushwork flower and bird painting also appeared different aesthetic character. The creation space of the Southern Song Dynasty was relatively free, and after being influenced by the Neo-Confucianism of the Song Dynasty, the foldable flower and bird paintings with one leaf as the Zen machine epiphany prevailed in the world, forming a unique aesthetic charm. Thirdly, the article discusses the evolution of flower and bird painting in Song Dynasty and the formation of different aesthetic character in detail. Finally, it mainly explains the aesthetic meaning in the formal language of flower and bird painting in Song Dynasty. This mainly includes the choice of the theme of the flower and bird painting, as well as in the shape, color performance of the analysis, trying to reveal the Song Dynasty fine brushwork flower and bird painting aesthetic spirit and creative law.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】