初探邹一桂绘画风格成因

发布时间：2018-03-24 00:39

本文选题：邹一桂　切入点：小山画谱　出处：《陕西师范大学》2014年硕士论文

【摘要】：清朝是历史上最后一个君主专制朝代,在统治者入主中原建立清政府之后,经济发展出现翻天覆地的变化,呈现出一段繁荣昌盛的时期。随着经济发展的不断变革,清朝的文化艺术亦走向一个新的高度。就绘画艺术而言,在文化专制政策的束缚下,宫廷画家成为了增强皇权统治最有力的傀儡,宫廷绘画成了统治者教化人心禁锢思想的最佳武器。因此,清朝涌现出许多较有才华的宫廷画家,他们有的在朝为官,善于绘事,有的供职于宫廷画院,按照皇帝意愿作画,邹一桂就是其中一位较有才华的宫廷画师。邹一桂为雍正年间的进士,官位翰林编修,后又为礼部侍郎,仕途之路并不十分顺遂。他所编撰的《小山画谱》是结合自己对花卉长期观察的经验和自身对绘画创作的理解以章节形式展现的专门论述花卉创作的理论著作,为后人研习花鸟画创作技法提供了直观、真实、细致的文字与图片。《小山画谱》清晰的表明了邹一桂在花鸟画创作表现方法上的基本思想：写生为重,反对拟古。除此之外,从现世所流传邹一桂的绘画作品来看,邹一桂的绘画色彩鲜艳,结构清晰,用笔细腻,大有清朝宫廷绘画之风,除此之外,传统文人画的赝古之气也在邹一桂的作品上留下了印记。江山代有人才出,无论处于哪个朝代,不管是宫廷画家还是职业画家,不管是绘画兴趣爱好者还是弃儒从贾的文化商人,只要能称得上是画家的人,在他的艺术创作道路上都会有其独特的绘画风格与绘画思想。是什么在其成长成才的过程中引导他们逐步走向能够流传于世的画家之路；是什么影响使得他们在文化变革之中坚持自我方向与风格；是什么改变他们,使得他们具有高超的技艺,描绘出现世观赏者所能欣赏到的唯美画卷。本文以科学的考查研究方法,从社会学的角度在前人研究的基础之上分析和讨论清代著名画家邹一桂在绘画创作过程中所具有的绘画风格与其绘画思想形成的原因。
[Abstract]:The Qing Dynasty was the last autocratic monarchy in history. After the rulers took over the Central Plains to establish the Qing government, the economic development changed dramatically, showing a period of prosperity and prosperity. The culture and art of the Qing Dynasty also moved to a new height. As far as the art of painting is concerned, under the restraint of the cultural autocratic policy, court painters have become the most powerful puppets to strengthen the rule of imperial power, and court painting has become the best weapon for rulers to educate and imprison people's minds. In the Qing Dynasty, many more talented court painters emerged. Some of them were officials in the dynasty, good at drawing things, and some served in the court painting institute. According to the emperor's wishes, Zou Yigui was one of the more talented court painters. Zou Yigui was a jinshi in Yongzheng period, the official position in Hanlin was edited, and later he served as a minister of etiquette. The path of his official career was not very smooth. His composition of the hill painting was a theoretical work devoted to flower creation in the form of chapters combined with his experience of long-term observation of flowers and his own understanding of painting creation. It provides visual, real and detailed words and pictures for later generations to study the techniques of flower-and-bird painting creation. "the Picture of the Hill" clearly shows Zou Yi-gui 's basic idea on the expressive method of flower-and-bird painting: painting sketches is the most important thing, and opposing the imitation of ancient times. In addition, it clearly shows Zou Yi-kui 's basic idea in the expression of flower-and-bird painting. Judging from the paintings of Zou Yigui that have been handed down in the world, Zou Yigui's paintings are bright in color, clear in structure, delicate in writing, and have a great style of painting at the court of the Qing Dynasty. In addition, The artifact of traditional literati painting also left an imprint on Zou Yigui's works. There are talented people in Jiangshan generation, no matter what dynasty they are in, whether they are court painters or professional painters, whether they are interested in painting or cultural businessmen who abandon Confucianism and follow Jia, as long as they can be called painters. In his artistic creation road will have its unique painting style and painting thought. What influence makes them stick to their own direction and style in the process of cultural change; what changes them, and what makes them have great skills, Describe the aesthetic picture that the earthly viewer can enjoy. From the angle of sociology, on the basis of previous studies, this paper analyzes and discusses the painting style of Zou Yigui, a famous painter in Qing Dynasty, and the reasons for the formation of his painting thought.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

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