發(fā)布時間：2018-05-28 20:46

  本文選題：陳洪綬 + 繪畫風格��； 參考：《云南師范大學》2013年碩士論文

【摘要】：陳洪綬是中國古代的繪畫歷史史上，一位有著獨特個人風格，異于歷代大師的畫家。以怪誕奇崛的獨特審美風格獨樹一幟，，在畫法上遠承唐宋，融合元明，在清初曾被正統(tǒng)派的文人畫理論家視為野惡，在繪畫技術(shù)和美學思想上啟迪了當代和后世的許多藝術(shù)家，其生平的事跡也在他身生前生后不斷被世人記錄、著錄、研究。 陳洪綬的繪畫特色，異于歷代名家，他的原因包括四個方面：一是時代因素影響，陳洪綬生活在明清動亂時期，當時是一個朝政不振、國家危亡和個性解放的時代；第二是他崇古，陳洪綬的人物畫的師承經(jīng)歷為初學宋人李公麟，后來學唐人周f 及其五代貫休，晚年也學顧愷之的“高古游絲描”。但他的法古追古崇古，并不是一種盲目崇拜，停留于表面仿古，而是融合了他自己獨特的個人理解，深入到他的繪畫的本質(zhì)、繪畫的精神氣質(zhì)中，最終形成有著自己獨特個性的風格。第三是同一時期畫壇的影響，陳洪綬早期繪畫作品，受到了藍瑛影響。在造型圖式方面，丁云鵬對他也有著深刻影響。另外，他也受到了同時期畫家的一些奇?zhèn)ス竹數(shù)睦L畫風格影響比如徐渭；第四是他藝術(shù)個性的一個改變，傳統(tǒng)三教的影響，豐富了陳洪綬的繪畫特點，在理論上了又提出“神家、名家、作家、匠家”區(qū)分。此外，陳洪綬對唐、宋和元各自的繪畫特點認識的深刻見解，也是當時的畫壇所沒有的。這種認識也是他最終形成自己獨特的，異于古人繪畫特色的一個重要原因。 他是對后世直至當代中國人物畫家產(chǎn)生重大影響的畫家，他的身處年代，他的個人經(jīng)歷，他的身份特征造就了他的繪畫怪誕風格，他的畫無論是從構(gòu)圖還是人物造型還是勾線設(shè)色，都有著嚴謹?shù)膽B(tài)度，因此他的畫可以說是怪誕但也是極有章法的，所以說他的畫既繼承了傳統(tǒng)又不拘泥于傳統(tǒng)，本文對陳洪綬的繪畫風格進行詳盡地研究、考察，并結(jié)合他的身份生活經(jīng)歷特征，分析導致這種風格的原因及其轉(zhuǎn)變過程，結(jié)合哲學的角度分析陳洪綬怪誕風格的藝術(shù)美所在，通過他的遺民身份，結(jié)合他的人物畫畫風變異特點，分析闡述陳洪綬的繪畫思想的學術(shù)價值，本文致力于多角度審視問題、靈活運用各種研究方法，力求做到史論結(jié)合，論從史出，注意理論與繪畫實踐的相互印證。在研究過程中還會適當參照、引用前人的部分研究成果，來佐證我的觀點，以期達到研究目的。
[Abstract]:In the history of ancient Chinese painting, Chen Hongshou is a painter who has unique personal style and different from the masters of the past dynasties. With unique unique aesthetic style, he distinguished himself from the Tang and Song Dynasties and the fusion of yuan and Ming in the painting method. In the early Qing Dynasty, the literary theorist of the orthodox school regarded it as a wild evil, and enlightened the contemporary art and aesthetics. And many artists of later generations, their deeds of life were recorded, recorded and studied after he was born.
Chen Hongshou's painting features are different from those of the past dynasties. His reasons include four aspects: one is the influence of the times, and Chen Hongshou lives in the period of the turmoil in the Ming and Qing Dynasties. At that time, it was an era of the state's peril and the emancipation of the individual; the second is that he praised the ancient and Chen Hongshou's figure painting experience for the first study of Li Gonglin of the Song Dynasty and later on the Tang Dynasty. In his late years, F and his five generation had also studied Gu Kai's "high ancient silk drawing". However, his French ancient pursuit of ancient times was not a blind worship and stayed on the surface of antiquity, but fused his own unique personal understanding, deep into the essence of his painting, and in the spirit of painting, finally formed his own unique personality style. The third is the influence of the same period of painting, Chen Hongshou's early paintings are influenced by blue Ying. In the shape schema, Ding Yunpeng has a profound influence on him. In addition, he has also been influenced by some extraordinary painting styles of the same period painters, such as Xu Wei; fourth is a change in his artistic personality and the shadow of the traditional three religions. It enriches the characteristics of Chen Hongshou's painting, and puts forward the distinction between "the gods, the masters, the writers and the craftsmen" in theory. In addition, Chen Hongshou has a profound understanding of the characteristics of Tang and Song Heyuan's painting characteristics, which is also not the one of the painting world at that time. This is also an important idea that he finally formed his own unique and different from the painting features of the ancients. Reason.
He is a painter who has a great influence on the later generations of Chinese figure painters. His age, his personal experience, his identity and his identity have created his grotesque style of painting. His paintings, whether from composition or figure or line, have a rigorous attitude, so his paintings can be said to be grotesque but also extreme. There are rules, so that his paintings not only inherit the tradition but not adhere to the tradition, this article studies Chen Hongshou's painting style in detail, inspects, and combines his identity life experience characteristics, analyzes the causes of this style and the process of transformation, and combines the angle of philosophy to analyze the artistic beauty of Chen Hongshou's grotesque style, through which the artistic beauty of the style is analyzed. The identity of his people, combined with the characteristics of his character painting wind variation, analyzes and expounds the academic value of Chen Hongshou's painting ideas. This article is devoted to examining the problems in many angles and using various research methods flexibly, striving to achieve the combination of historical theories, from the history of history, to the mutual proof of the theory and the practice of painting. I quote some previous research results to support my point of view so as to achieve the purpose of research.
【學位授予單位】：云南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J209.2

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本文編號：1948118