论宋代士人画对宋代工笔花鸟画发展的影响
发布时间：2018-11-28 12:37
【摘要】：宋代士人画对宋代工笔花鸟画发展产生的影响,是本文的主要研究对象。本文着重探讨工笔花鸟画在士人画影响下的发展状况,对两位主要工笔花鸟画家的绘画风格进行研究,同时探寻士人画与工笔花鸟画相结合而形成的特色。 宋代统治者实施重文的政策,文官执掌政权,社会性的崇文风气以及士人政治地位的大大提高,进而形成宋代特有的政治和文化一体化的关系。宋代的士人参与绘画,形成了独特的士人画。士人在题材上偏爱山水、花鸟及道释人物,以诗、书、画三者结合构成画面。在表现形式上士人画重视艺术的表现性特征,在绘画作品中注重创作者主观情感的倾吐与挥洒。士人画的审美特征可以概括为：以诗为魂、画中有诗；书法用笔,笔法超逸;墨色为宗、清润秀雅；寄情寓兴、抒情写意。 士人画的绘画观念对人物画、山水画的发展产生了巨大的影响,同时也影响着工笔花鸟画发展的进程。士人画的发展史是中国绘画史中最重要的一个过程,它反映了中国各个时期士人的精神思想状态和士人以绘画为载体的一种文化现象。作为工笔花鸟画这样一个画种在发展过程中必然会受到士人画的影响,进而发生变化。 本文分三大部分展开论述： 第一部分,概括论述宋代士人画以及北宋和南宋工笔花鸟画的发展。 第二部分,分析士人画对宋徽宗和赵孟坚两位画家的绘画观念和工笔花鸟画作品的影响,感受他们绘画作品中所蕴含的士人画思想。 第三部分,分别从绘画功能、诗画结合、创作技法三个方面阐述宋代士人画对工笔花鸟画发展的影响。 通过以上分析本文认为：北宋初期的工笔重彩花鸟画主要是沿袭“黄家富贵”的绘画体制,士人画的兴起促进了北宋工笔重彩花鸟画的分化。北宋初期士人参与到了绘画行列,绘画队伍发生了变化,绘画功能观念也产生了改变。游离于从自汉代、唐朝以来偏重的政教功能,减弱其政治依附性和工艺品的商品性,绘画作为审美和自娱的一种高雅活动目的是体验非功利性的创作带来的愉悦感受,重在抒发性情。士人画中“诗中有画、画中有诗”的审美意趣,影响着工笔花鸟画的画面形式和意境。士人画强调笔墨技法的运用,李公麟开创的白描画法使士人和宫廷画院画家的绘画技法更加丰富、多样。弱化色彩、重视墨色的运用体现了“平淡美”的绘画理念,呈现了士人的书卷气。
[Abstract]:The influence of scholar painting on the development of meticulous flower-and-bird painting in Song Dynasty is the main research object of this paper. This paper focuses on the development of fine brushwork flower-and-bird painting under the influence of scholars' paintings, studies the painting styles of two main meticulous brushwork flower-bird painters, and explores the characteristics formed by the combination of scholar painting and meticulous brushwork flower-and-bird painting. The rulers of the Song Dynasty carried out the policy of emphasizing literature, the civil officials were in charge of political power, the social veneration of literature and the political status of the scholars were greatly improved, thus forming the unique political and cultural integration relationship of the Song Dynasty. In the Song Dynasty, taxi people took part in painting, forming a unique scholar painting. Scholars favor landscape, flowers and birds and Taoist figures in the subject matter, with poetry, books, painting three constitute a picture. In the form of expression, scholars pay attention to the expressive characteristics of art, and pay attention to the subjective emotion of the creators in their paintings. The aesthetic characteristics of scholars' paintings can be summarized as follows: poetry as the soul, poetry in the painting; calligraphy with a pen, the style of writing is super easy; the ink color is the sect, which is clear and elegant; the expression of emotion is combined with pleasure and lyricism. The concept of scholar painting has a great influence on the development of figure painting and landscape painting, and also affects the development process of fine brushwork flower and bird painting. The history of scholars' painting is the most important process in the history of Chinese painting. It reflects the mental state of the scholars in every period of China and a cultural phenomenon in which the scholars take painting as their carrier. As a kind of fine brushwork flower and bird painting, it is bound to be influenced by scholars' paintings in the course of development, and then changes. This paper is divided into three parts: the first part, the development of the Song Dynasty scholar painting and the Northern Song Dynasty and the Southern Song Dynasty fine brushwork flower and bird painting. In the second part, the author analyzes the influence of scholars' paintings on the paintings of Huizong and Zhao Mengjian, as well as the fine brushwork of flower-and-bird paintings, and feels the scholars' painting ideas contained in their paintings. The third part, respectively from the painting function, the poetry and painting union, the creation technique three aspects elaborated the Song Dynasty scholar painting to the fine brushwork flower and bird painting development influence. Through the above analysis, the author thinks that the fine brushwork heavy color flower and bird painting in the early Northern Song Dynasty is mainly following the painting system of "Huang Jia rich and noble", and the rise of the scholar painting promoted the differentiation of the Northern Song Dynasty heavy color flower and bird painting. In the early Northern Song Dynasty, scholars took part in painting, the painting team changed and the concept of painting function changed. Free from the political and religious functions that have been emphasized since the Han Dynasty and the Tang Dynasty, and weaken its political dependence and commodity nature of handicrafts, painting, as an elegant activity of aesthetic appreciation and self-entertainment, aims to experience the pleasure of non-utilitarian creation. The most important thing is to express one's temperament. The aesthetic interest of "painting in poems and poems in paintings" in scholars' paintings affects the form and artistic conception of fine brushwork flower-and-bird paintings. Scholars emphasized the use of brushwork and ink techniques, Li Gonglin pioneered the white drawing method to make scholars and court painters more rich and diverse painting techniques. Weakening color and attaching importance to the application of ink reflect the painting idea of "plain beauty" and present the scholar's style of books.
【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;J209.2
本文编号：2362842
[Abstract]:The influence of scholar painting on the development of meticulous flower-and-bird painting in Song Dynasty is the main research object of this paper. This paper focuses on the development of fine brushwork flower-and-bird painting under the influence of scholars' paintings, studies the painting styles of two main meticulous brushwork flower-bird painters, and explores the characteristics formed by the combination of scholar painting and meticulous brushwork flower-and-bird painting. The rulers of the Song Dynasty carried out the policy of emphasizing literature, the civil officials were in charge of political power, the social veneration of literature and the political status of the scholars were greatly improved, thus forming the unique political and cultural integration relationship of the Song Dynasty. In the Song Dynasty, taxi people took part in painting, forming a unique scholar painting. Scholars favor landscape, flowers and birds and Taoist figures in the subject matter, with poetry, books, painting three constitute a picture. In the form of expression, scholars pay attention to the expressive characteristics of art, and pay attention to the subjective emotion of the creators in their paintings. The aesthetic characteristics of scholars' paintings can be summarized as follows: poetry as the soul, poetry in the painting; calligraphy with a pen, the style of writing is super easy; the ink color is the sect, which is clear and elegant; the expression of emotion is combined with pleasure and lyricism. The concept of scholar painting has a great influence on the development of figure painting and landscape painting, and also affects the development process of fine brushwork flower and bird painting. The history of scholars' painting is the most important process in the history of Chinese painting. It reflects the mental state of the scholars in every period of China and a cultural phenomenon in which the scholars take painting as their carrier. As a kind of fine brushwork flower and bird painting, it is bound to be influenced by scholars' paintings in the course of development, and then changes. This paper is divided into three parts: the first part, the development of the Song Dynasty scholar painting and the Northern Song Dynasty and the Southern Song Dynasty fine brushwork flower and bird painting. In the second part, the author analyzes the influence of scholars' paintings on the paintings of Huizong and Zhao Mengjian, as well as the fine brushwork of flower-and-bird paintings, and feels the scholars' painting ideas contained in their paintings. The third part, respectively from the painting function, the poetry and painting union, the creation technique three aspects elaborated the Song Dynasty scholar painting to the fine brushwork flower and bird painting development influence. Through the above analysis, the author thinks that the fine brushwork heavy color flower and bird painting in the early Northern Song Dynasty is mainly following the painting system of "Huang Jia rich and noble", and the rise of the scholar painting promoted the differentiation of the Northern Song Dynasty heavy color flower and bird painting. In the early Northern Song Dynasty, scholars took part in painting, the painting team changed and the concept of painting function changed. Free from the political and religious functions that have been emphasized since the Han Dynasty and the Tang Dynasty, and weaken its political dependence and commodity nature of handicrafts, painting, as an elegant activity of aesthetic appreciation and self-entertainment, aims to experience the pleasure of non-utilitarian creation. The most important thing is to express one's temperament. The aesthetic interest of "painting in poems and poems in paintings" in scholars' paintings affects the form and artistic conception of fine brushwork flower-and-bird paintings. Scholars emphasized the use of brushwork and ink techniques, Li Gonglin pioneered the white drawing method to make scholars and court painters more rich and diverse painting techniques. Weakening color and attaching importance to the application of ink reflect the painting idea of "plain beauty" and present the scholar's style of books.
【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;J209.2
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