北宋花鸟画中“野逸”趣味的现象研究
发布时间：2018-10-11 11:35
【摘要】：“野逸”作为一种绘画艺术风格是由五代时期徐熙发展而来的,作为一种艺术审美学说是由郭熙提出并由宋元画家付诸实现的。在北宋中期“黄家富贵”体系逐渐衰退的同时“徐熙野逸”之趣悄然登场,出现了讲求自然与人、自然与生活体验的新的艺术表现手法。主要从写生到“抒胸臆”,从“名贵富丽”到“自然田趣”,从迎合大众到关注绘画艺术本身,这些都无不表现了“登临览物之有得”的审美理想和审美境界。 在北宋这一时期的“野逸”花鸟画方面,由中期的赵昌、易元吉、崔白、吴元瑜等人的野趣探索和表现起到了不可或缺的中坚力量,彰显了花鸟画的“野逸”风采,为后来的花鸟画画法和画风的变革产生了积极的影响。他们从个人经历、心理性情、题材选取和表现等方面都做出了趋于乡野生趣、清新淡雅的“野逸”之风而有别于黄家风采的异样花鸟画表现新样式。同时,这一题材和技法的突破以及“野逸”趣味中贯穿的闲放豁达的性情表露,以及趣味隐含下的精神需求和情感寄托为后来的文人净化心灵、超越自我埋下了伏笔,这些都成为了士大夫们追捧的范式,为后来文人写意花鸟画的兴起发展起到了积淀性的积极作用。 由此可见,“野逸”的精神实质指向了对心性的关照,心灵与自然的融合。在花鸟画中这一指向的开始使得作为自然界中的花鸟承载了人类抒怀和言志的载体,花鸟画被赋予了新的内涵和意义。
[Abstract]:"Yeyi" as a painting style developed from the five dynasties Xu Xi, as an artistic aesthetic theory was put forward by Guo Xi and put into practice by the Song and Yuan painters. In the middle of the Northern Song Dynasty, the system of "Huang Jia rich and noble" gradually declined, at the same time "Xu Xiye Yi" quietly appeared, there appeared a new artistic expression of nature and man, nature and life experience. Mainly from sketch to "express one's mind", from "rare and rich" to "natural field interest", from pandering to the public to paying attention to the painting art itself, all of these all showed the aesthetic ideal and aesthetic realm of "visiting and seeing things". In this period of the Northern Song Dynasty, the "wild Yi" flower and bird paintings played an indispensable role in the exploration and expression of the wild interests of Zhao Chang, Yi Yuanji, Cui Bai, Wu Yuanyu, and so on, which showed the "wild and easy" style of the flower and bird paintings. For the later flower-and-bird painting and painting style of change has had a positive impact. From the aspects of personal experience, psychological disposition, theme selection and performance, they all made a trend of rural interest, fresh and elegant "wild and easy" style, which is different from Huang Jia's unique style of flower-and-bird painting. At the same time, the breakthrough of this theme and technique, the free and open-minded temperament that runs through the taste of "wild and easy", and the spiritual demand and emotion implied by the interest are the foreshadowing for the later literati to purify their hearts and transcend themselves. All of these have become the paradigm sought after by literati and officials, and played an accumulative positive role in the rise and development of literary freehand brushwork of flower and bird painting. It can be seen that the spiritual essence of "wild and easy" points to the care of the mind and the fusion of the mind and nature. The beginning of this direction in the flower and bird painting makes the flower and bird as the carrier of human expression and expression in nature. The flower and bird painting is endowed with new connotation and significance.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2264045
[Abstract]:"Yeyi" as a painting style developed from the five dynasties Xu Xi, as an artistic aesthetic theory was put forward by Guo Xi and put into practice by the Song and Yuan painters. In the middle of the Northern Song Dynasty, the system of "Huang Jia rich and noble" gradually declined, at the same time "Xu Xiye Yi" quietly appeared, there appeared a new artistic expression of nature and man, nature and life experience. Mainly from sketch to "express one's mind", from "rare and rich" to "natural field interest", from pandering to the public to paying attention to the painting art itself, all of these all showed the aesthetic ideal and aesthetic realm of "visiting and seeing things". In this period of the Northern Song Dynasty, the "wild Yi" flower and bird paintings played an indispensable role in the exploration and expression of the wild interests of Zhao Chang, Yi Yuanji, Cui Bai, Wu Yuanyu, and so on, which showed the "wild and easy" style of the flower and bird paintings. For the later flower-and-bird painting and painting style of change has had a positive impact. From the aspects of personal experience, psychological disposition, theme selection and performance, they all made a trend of rural interest, fresh and elegant "wild and easy" style, which is different from Huang Jia's unique style of flower-and-bird painting. At the same time, the breakthrough of this theme and technique, the free and open-minded temperament that runs through the taste of "wild and easy", and the spiritual demand and emotion implied by the interest are the foreshadowing for the later literati to purify their hearts and transcend themselves. All of these have become the paradigm sought after by literati and officials, and played an accumulative positive role in the rise and development of literary freehand brushwork of flower and bird painting. It can be seen that the spiritual essence of "wild and easy" points to the care of the mind and the fusion of the mind and nature. The beginning of this direction in the flower and bird painting makes the flower and bird as the carrier of human expression and expression in nature. The flower and bird painting is endowed with new connotation and significance.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
【参考文献】
相关期刊论文 前1条
1 张启成;周健自;;略论宋代美学思想与文学批评的新变[J];黔南民族师范学院学报;2010年05期
，本文编号：2264045
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