边寿民雁画程式对于中国禽鸟画的作用及意义

发布时间：2018-04-25 17:23

本文选题：禽鸟画 + 边寿民　；参考：《中央美术学院》2013年硕士论文

【摘要】：花鸟画的程式,是一套用以表现某种主题或审美意象的,本身便具有较高审美内涵的笔墨表现体系。它的主要内容是花鸟画笔墨形态的用笔方法,尤其是连续性的组合方式。边寿民,山阳(江苏淮安)人,扬州画派的重要画家。工书,善画花鸟、蔬果,其雁画尤佳,驰誉江淮,有“边芦雁”之称。边寿民自述师承青藤、白阳,可能也受到了比他稍早的朱耷的影响。结庐野滩三十年,边寿民透过琉璃窗观察芦雁生态,创作了大量雁画作品。根据其雁画的笔墨结构的多种属性,笔者认为边寿民雁画是一套具有典型性的花鸟画禽鸟程式系统。本文立足笔者研究方向,从美学层面到中国画层面分别论述：形式美及艺术形式与生活、既有经验的关系；禽鸟画形式语言、笔墨结构及其与生活、传统的关系。以边寿民雁画为例,使用分析、分类、归纳、比较等多种手段,研究涉及笔墨形态、艺术语言及艺术精神等方面,建立禽鸟画程式模型。据此对雁画的流变梳理溯源,厘清边寿民雁画程式的来源与形成规律,探索边寿民雁画程式对于中国禽鸟画发展的推进及意义。本文使用不完全归纳的逻辑推理法,以张立辰先生提出的“笔墨结构”理论为指导：第一步,在中国古典美学与中国画语境下的确定形式、程式等概念,梳理禽鸟画发展过程；第二步,将边寿民雁画笔墨结构建立成为雁画程式模型；第三步,对雁画发展史进行溯源,简单枚举雁画发展史中节点性的作品,验证边寿民雁画程式模型,并观察不同时期边寿民雁画笔墨结构的关系,总结雁画程式发展规律。通过基于“笔墨结构”理论进行的科学观察、总结、建立模型、验证、应用、再总结的研究过程,对禽鸟画程式中的雁画程式有了新的认识,最后据此论述边寿民雁画程式对中国禽鸟画的作用及意义：一、笔墨结构的高度提炼概括、细化深入既是雁画程式的基本属性,又是雁画程式的形成的主要趋势——“程式化”。无论是何朝代时期,无论是减笔的、还是繁笔的,其笔墨结构均同时兼有继承与创新,或程式与程式化这两种性质。二、雁画高度程式化的笔墨形式的存在,才能更充分的发挥笔墨结构的表现力,才能提升审美高度,继而将意象造型、表现推向高峰。三、在雁画的程式化过程中,笔墨结构是衡量雁画发展的核心标准。在不断继承、创新的程式化过程中,笔墨结构的继承代表着雁画的继承、笔墨结构的创新便代表了雁画的创新。四、雁画发展至今,正是沿着这样的规律一路走来,业已形成了以边寿民雁画为代表的,稳定完备可持续的发展体系,对于中国禽鸟画而言,具有重要的意义。
[Abstract]:The program of flower-and-bird painting is a system of ink and brush expression which is used to express a certain theme or aesthetic image and has a higher aesthetic connotation. Its main content is the method of using ink and brush in flower-and-bird painting, especially the combination method of continuity. Shoumin, Shanyang (Jiangsu Huaian), Yangzhou painting school of important painters. Works book, good painting flowers and birds, fruits and vegetables, its geese painting is particularly good, famous Jianghuai, "Yan Lu Yan" said. Shou-shou Shi Chengqingteng, Bai Yang, may also be affected by his earlier Zhu Da. Jielu Wild Beach 30 years, through the glass window observation of Lu Yan ecology, created a large number of wild goose paintings. According to the various properties of the brush and ink structure of the wild goose painting, the author thinks that the bird and bird painting is a typical bird and bird painting system. This article based on the author's research direction, from the aesthetic level to the level of Chinese painting, respectively: formal beauty and art form and life, the relationship between experience; bird painting form language, brush and ink structure and its relationship with life, traditional. Taking the wild goose painting as an example, this paper studies the painting program model of birds and birds by means of analysis, classification, induction, comparison and so on. It involves the form of pen and ink, the artistic language and the artistic spirit, and so on. On the basis of this, the source of the evolution of wild goose paintings is traced to clarify the origin and formation law of the bird painting program of the longevity people, and to explore the promotion and significance of the bird painting program for the development of the bird painting in China. This article uses incomplete inductive logical reasoning method, guided by the theory of "pen and ink structure" put forward by Mr. Zhang Lichen: the first step, in the context of Chinese classical aesthetics and Chinese painting, certain form, program and other concepts, combing the bird painting development process; In the second step, the structure of the brush and ink painting of the wild goose painting is established as the program model of the goose painting; the third step is to trace the history of the development of the wild goose painting, and simply enumerate the nodal works in the history of the goose painting, and verify the program model of the goose painting of the longevity people. At the same time, the relationship between the brush and ink structure of wild goose painting in different periods was observed, and the development law of goose painting program was summarized. Through the research process of scientific observation, summing up, modeling, verification, application and summarization based on the theory of "brush and ink structure", we have gained a new understanding of the goose painting program in the bird and bird painting program. In the end, the paper discusses the function and significance of the bird painting program in China. First, the highly refining and generalization of brush and ink structure is not only the basic attribute of the geese painting program, but also the main trend of the formation of the geese painting program-"stylization". No matter what dynasty period, whether it is to reduce the pen, or the complex pen, its pen and ink structure both inherit and innovate, or program and stylized these two properties. Second, the existence of highly stylized brush and ink form of geese painting can give full play to the expressive power of the structure of pen and ink, enhance the aesthetic height, and then push the image modeling to the peak. Thirdly, in the process of formulation of geese painting, the structure of pen and ink is the core standard to measure the development of geese paintings. In the process of continuous inheritance and innovation, the inheritance of pen and ink structure represents the succession of goose painting, and the innovation of pen and ink structure represents the innovation of goose painting. Fourthly, the development of geese paintings is along the way along the way, has formed a stable and complete sustainable development system, which is of great significance to Chinese birds and birds painting.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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