明代没骨花鸟画中“水”的应用

发布时间：2018-04-22 08:30

本文选题：明代花鸟画 + 没骨画　；参考：《中国艺术研究院》2016年硕士论文

【摘要】：明代是中国花鸟画创作的又一个高峰,发生并发展了多种表现方法。以边景昭、吕纪为首的画家继续着北宋工丽的院画传统,而写意、没骨花鸟画在明代得到了长足发展,林良、沈周、文征明、陈淳、徐渭、孙隆等一批画家擅名当世。明代没骨画不但继承了传统骨法用笔方式,还发展了侧锋卧笔的用笔方式,极大地丰富了笔墨的表现力,并且促使画家开始关注对水的主动运用。侧、卧用笔加水后具浓淡、干湿、沁渗多种笔墨效果,提升了水与墨的美感层次。作为绘画语言的互相借鉴与创新,没骨花鸟画的用笔方式由中锋引申出侧锋、卧笔；用水由最初的调和浓淡干湿到积、破、泼。论文从明代花鸟画之有骨与没骨的技法语言对比出发,考察了它们之间的和与不同,从而引申出没骨花鸟画对水的独特的运用方式。从绘画质材上看,生宣在毛笔落纸后,水与墨迅速渗入纸中,而熟宣则渗入较慢,水与墨在纸面上有相互交融的时间,这就为积、破、泼提供了机会。这也是没骨画多采用熟宣的原因。从运笔上看,写意画强调用笔的书写性,水更多地是与墨结合在一起,产生了浓淡干湿的笔墨趣味,而没骨画除了书写性的用笔外,还可以积、染、复笔等,为水的主动运用提供了更广阔的空间。而本文的着眼点在于明代花鸟画这一题材下,有骨与没骨笔墨语言的和与不同之处,由此引申出没骨花鸟画用水状况的考察。考察方向并非单纯意义上的对水的媒介作用的考察,而是把水看作与墨一样,是独立的,具有自身的语言特点这样一个语境下的考察。因为墨是有色的,而水是无色透明的,因此在画面表现上来看,人们更容易关注到墨,而忽略了水。墨是显性的,水是隐性的,水不但可以和墨配合,而产生许多笔墨效果,就是水自身,也可以通过其独特的方式产生笔墨效果。正是基于此,本文讨论了明代没骨花鸟画中关于水的应用,水从最初的调和剂,变为主动运用,它们与笔墨一样,共同承担着审美价值。
[Abstract]:Ming Dynasty was another peak of Chinese flower and bird painting creation. The painters, led by Bian Jingzhao and Lu Ji, continued the tradition of the Yuan paintings of Gongli in the Northern Song Dynasty, but freehand brushwork, flowers and birds paintings without bones had made great progress in the Ming Dynasty. Lin Liang, Shen Zhou, Wen Zhengming, Chen Chun, Xu Wei, Sun long and other painters were well known in the world. No bone painting in Ming Dynasty not only inherited the traditional method of bone pen, but also developed the way of the side front pen, which greatly enriched the expressive power of pen and ink, and prompted the painter to pay attention to the active use of water. On the other hand, after adding water to the pen, it has a dense, dry and wet effect, which enhances the aesthetic level of water and ink. As the drawing language of mutual reference and innovation, no bone flowers and birds painting from the center of the way to extend the side front, lying pen; water from the original mix of dry and wet to accumulate, break, pour. Based on the comparison of bone and non-bone techniques of flower and bird paintings in Ming Dynasty, this paper investigates the sum and difference between them, thus generalizing the unique application of bone flower and bird painting to water. From the point of view of the painting material, after the brush drops the paper, the water and ink quickly infiltrate into the paper, while the mature one infiltrates slowly, and the water and ink have the time of blending on the paper, which provides the opportunity to accumulate, break, and pour. This is also the reason why no bone painting is more familiar. From the point of view of painting, freehand brushwork emphasizes the writing of the pen, and the water is more combined with the ink, resulting in a thick, dry and wet brush and ink interest, and no bone painting can accumulate, dye, and duplicate the pen in addition to the writing pen. For the active use of water to provide a broader space. The focus of this paper is the Ming Dynasty flower and bird painting subject matter, bone and no bone pen and ink language and differences, thus extending the study of the water situation of bone flower and bird painting. The direction of investigation is not a simple study of the media function of water, but an investigation in the context of the fact that water is as independent as ink and has its own linguistic characteristics. Because ink is colored and water is colorless and transparent, it is easier to focus on ink and ignore water. Ink is dominant, water is recessive, water can not only cooperate with ink, but also produce a lot of ink effects, that is, water itself can also produce ink effects in its unique way. Based on this, this paper discusses the application of water in the painting of flowers and birds without bones in the Ming Dynasty. The water changed from the initial mediating agent to the active use, and they shared the aesthetic value with the pen and ink.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212

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