陈淳写意花鸟画研究
发布时间：2018-10-30 06:58
【摘要】：在中国美术史上,陈淳与徐渭并称“白阳,青藤”。二人在中国写意花鸟画发展史上都占据着非常重要的地位。如果说青藤把中国大写意花鸟画推向顶峰,那么白阳就是大写意花鸟画的基石,他为大写意花鸟画确立了基本的范式。青藤的大写意花鸟画亦源于白阳。 笔者立足于对陈淳写意花鸟画的研究。本文主要采用参考文献法,比较法,图像例证法以及作品分析法,以陈淳的传世精品作品为基础,从四个方面着手对陈淳的写意花鸟画艺术的探讨。首先是从艺术家本身的角度出发,分析影响陈淳写意花鸟画风格形成的主客观因素。本着客观的态度,分析明代中期的社会经济文化背景,结合对陈淳生平与思想的介绍感受陈淳面对社会世风变化下形成的心理模式,目的是探讨在这种模式下的心理状态对其写意花鸟画风格形成所产生的影响。通过探讨陈淳的师承渊源以及明代写意花鸟画的时代特色,从而进一步探究影响其写意花鸟画艺术风格的更深层次因素。随后从具体作品出发,对陈淳笔墨,色彩,构图等形式特征作全面的阐述,进而分析陈淳在书画互渗、写生观念,花鸟画题材以及长卷形式等几个方面对于前人的创新。最后结合具体作品,解读陈淳写意花鸟画艺术风格对后世的影响。为大写意花鸟画确立了基本的范式可以说是陈淳绘画艺术中最大的成就,也是其写意花鸟画艺术风格在中国写意花鸟画发展的序列中其风格存在的意义所在,而这正是本论文的写作目的,通过探讨陈淳写意花鸟画艺术的价值研究来思考时下：一位优秀的艺术家要想在特定的历史时空中璀璨夺目,前提是需要在时下的历史时期制定出一套专属自己的“艺术解决方案”,并且是在这个时代的特定文化情境中的关于艺术的关键问题。
[Abstract]:In the history of Chinese art, Chen Chun and Xu Wei are also called "Baiyang, Qingteng." Both of them occupy a very important position in the history of Chinese freehand brushwork flower-and-bird painting. If Saito pushed the Chinese freehand brushwork flower and bird painting to the peak, then Baiyang is the cornerstone of the big freehand brushwork flower and bird painting, he established the basic paradigm for the big freehand brushwork flower and bird painting. The big freehand brushwork flowers and birds painting also originates from Baiyang. The author bases himself on the study of Chen Chun's freehand brushwork of flower-and-bird paintings. This paper mainly uses reference method, comparative method, image illustration method and work analysis method, based on Chen Chun's fine works, from four aspects to explore Chen Chun's freehand brushwork of flower-and-bird painting. First of all, it analyzes the subjective and objective factors that affect the formation of Chen Chun's style of freehand brushwork of flower-and-bird paintings from the point of view of the artist himself. In the light of the objective attitude, this paper analyzes the social, economic and cultural background in the middle of the Ming Dynasty, and combines the introduction of Chen Chun's life and thoughts to experience the psychological model formed by Chen Chun in the face of the changes in the social atmosphere. The purpose of this paper is to explore the influence of psychological state on the style of freehand brushwork. Through the discussion of Chen Chun's origination and the characteristics of the Ming Dynasty's freehand brushwork flower and bird painting, the deeper factors that affect the artistic style of his freehand brushwork flower and bird painting are further explored. Then, from the concrete works, this paper makes a comprehensive exposition on the formal characteristics of Chen Chun's pen and ink, color and composition, and then analyzes Chen Chun's innovations in the aspects of calligraphy and painting mutual permeation, sketching concept, flower-and-bird painting subject matter and long scroll form and so on. Finally, combined with specific works, interpretation of Chen Chun freehand brushwork on the impact of the art style of later generations. Establishing a basic paradigm for large freehand brushwork flower-and-bird painting can be said to be Chen Chun's greatest achievement in painting art, and is also the significance of the existence of his style in the sequence of the development of Chinese freehand brushwork flower-and-bird painting. And this is the purpose of this paper, by discussing the value of Chen Chun's freehand brushwork of flower-and-bird painting to reflect on the current situation: an excellent artist wants to dazzle in a specific historical time and space. The premise is that it is necessary to work out a set of "artistic solutions" in the present historical period, and is the key problem of art in the specific cultural context of this era.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2299273
[Abstract]:In the history of Chinese art, Chen Chun and Xu Wei are also called "Baiyang, Qingteng." Both of them occupy a very important position in the history of Chinese freehand brushwork flower-and-bird painting. If Saito pushed the Chinese freehand brushwork flower and bird painting to the peak, then Baiyang is the cornerstone of the big freehand brushwork flower and bird painting, he established the basic paradigm for the big freehand brushwork flower and bird painting. The big freehand brushwork flowers and birds painting also originates from Baiyang. The author bases himself on the study of Chen Chun's freehand brushwork of flower-and-bird paintings. This paper mainly uses reference method, comparative method, image illustration method and work analysis method, based on Chen Chun's fine works, from four aspects to explore Chen Chun's freehand brushwork of flower-and-bird painting. First of all, it analyzes the subjective and objective factors that affect the formation of Chen Chun's style of freehand brushwork of flower-and-bird paintings from the point of view of the artist himself. In the light of the objective attitude, this paper analyzes the social, economic and cultural background in the middle of the Ming Dynasty, and combines the introduction of Chen Chun's life and thoughts to experience the psychological model formed by Chen Chun in the face of the changes in the social atmosphere. The purpose of this paper is to explore the influence of psychological state on the style of freehand brushwork. Through the discussion of Chen Chun's origination and the characteristics of the Ming Dynasty's freehand brushwork flower and bird painting, the deeper factors that affect the artistic style of his freehand brushwork flower and bird painting are further explored. Then, from the concrete works, this paper makes a comprehensive exposition on the formal characteristics of Chen Chun's pen and ink, color and composition, and then analyzes Chen Chun's innovations in the aspects of calligraphy and painting mutual permeation, sketching concept, flower-and-bird painting subject matter and long scroll form and so on. Finally, combined with specific works, interpretation of Chen Chun freehand brushwork on the impact of the art style of later generations. Establishing a basic paradigm for large freehand brushwork flower-and-bird painting can be said to be Chen Chun's greatest achievement in painting art, and is also the significance of the existence of his style in the sequence of the development of Chinese freehand brushwork flower-and-bird painting. And this is the purpose of this paper, by discussing the value of Chen Chun's freehand brushwork of flower-and-bird painting to reflect on the current situation: an excellent artist wants to dazzle in a specific historical time and space. The premise is that it is necessary to work out a set of "artistic solutions" in the present historical period, and is the key problem of art in the specific cultural context of this era.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
【参考文献】
相关期刊论文 前2条
1 单国霖;;笔墨飞动 气格清逸——陈淳书画艺术风格论[J];中国书画;2007年09期
2 谈晟广;;陈淳与文徵明的师友交游及其隐居生涯考[J];中国美术馆;2010年08期
相关博士学位论文 前1条
1 阴澍雨;明代写意花鸟画溯源研究[D];中央美术学院;2011年
，本文编号：2299273
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2299273.html
