北宋易元吉的绘画研究

发布时间：2018-05-02 16:01

本文选题：地域性 + 易元吉　；参考：《湖南师范大学》2013年硕士论文

【摘要】：北宋时期的花鸟画可以说是中国传统写实艺术的巅峰,其作品生动自然,意境深远,为当下学习花鸟画之典范。现代花鸟画创作中也借鉴了不少前人的经验和技法,但是发展到今天,它已经形成某些固定的绘画模式和艺术风格,这对于画家的创作的影响是巨大的,同时也是的花鸟画的发展停滞不前。部分画家在创作的时候脱离生活,缺乏观察,只是一味模仿传统绘画的程序,至使他们作品过于表面形式化,没有包含精神内容。这种简单地重复前人的题材和沿袭传统的风格,拘泥于别人的框架和模式的创作态度是我们必须摈弃的。因为这样只会在不断地抄袭中迷失自我,丧失了艺术创新的锐气。艺术样式的模仿对于一位画家的艺术生命来说无疑是一把直插心脏的利刃,这样的作品显然也不合乎现实,而且缺乏艺术活力与时代生命力。从目前的绘画创作的情况来看,大部分人的作品过于程序化并流于表面的矫揉揉造作,作品本身僵硬死气,归根结底是缺乏对生活的认识和对外写生的实践。本文通过对北宋易元吉绘画作品的研究与分析,进一步阐释中国传统绘画中的写生精神以及他的绘画技法对于当代花鸟画创作的实用价值。作为当时北宋宫廷中唯一的湘籍画家,易元吉秉承了湖湘人的优良传统品质,并在绘画中渗入湖湘文化的精神内涵,使得作品更富地域特色。易元吉的绘画题材多以猿猴为主,这些作品真实生动,是他根据实地考察后得到第一手资料进行的绘画创作,所以无论是猿猴的细节描绘还是整体自然环境的刻画都是相当的精彩,这在这在当时已是无人可以比拟的,也弥补了中国传统花鸟画中獐猿这一空白,米芾称赞他为“徐熙后一人矣”。文章中专门对易元吉的猿猴题材绘画的设色和构图进行剖析,并且与同时代流行的黄派、徐派的风格的画家的比较来展示他异与常人的艺术修养和艺术魅力。本文在分析北宋政治文化背景的基础上对易元吉的艺术经历和绘画作品进行研究。通过图像分析法、文献研究法等,探究“写生”和“革新”两种精神在易元吉绘画中的体现以及对后世的影响。
[Abstract]:The flower and bird painting in the Northern Song Dynasty can be said to be the peak of Chinese traditional realistic art. Modern flower-and-bird painting has also drawn lessons from many previous experiences and techniques, but today, it has formed some fixed painting patterns and artistic styles, which has a great impact on the painters' creation. At the same time is also the development of flower and bird painting stagnated. Some painters are out of touch with life and lack of observation when they create their works, but they just copy the traditional painting procedure, so that their works are too superficial formalized and contain no spiritual content. This simple repetition of previous themes and traditional styles, stuck to other people's framework and mode of creative attitude we must abandon. Because this will only continue to plagiarism lost self, lost the spirit of artistic innovation. The imitation of artistic style is undoubtedly a sharp blade of a painter's artistic life. Such works are obviously not realistic and lack artistic vitality and vitality of the times. From the current situation of painting creation, most of people's works are too programmed and flow in the surface of the kneading, the work itself stiff dead, in the final analysis is a lack of understanding of life and the practice of sketching. Through the research and analysis of Yi Yuanji's painting works in the Northern Song Dynasty, this paper further explains the sketch spirit in Chinese traditional painting and the practical value of his painting technique to the contemporary flower and bird painting creation. As the only painter of Hunan nationality in the court of the Northern Song Dynasty, Yi Yuanji inherited the fine traditional quality of Huxiang people, and infiltrated the spiritual connotation of Huxiang culture in painting, which made the works more regional. Yi Yuanji's paintings are mostly about apes. These works are real and vivid. They are paintings he created on the basis of firsthand information obtained from his field visits. So both the detailed depiction of apes and the depiction of the overall natural environment are quite wonderful. This was something that no one could compare with at that time, and it also made up for the gap in the Chinese traditional flower and bird paintings. Mi Fu praised him as "Xu Xi after a person." The article specially analyzes the color and composition of Yi Yuanji's painting of ape subject matter, and compares with the contemporary popular artists of Huang School and Xu School to show his artistic accomplishment and artistic charm of different and ordinary people. Based on the analysis of the political and cultural background of the Northern Song Dynasty, this paper studies Yi Yuanji's artistic experience and painting works. Through image analysis, literature research and so on, this paper probes into the embodiment of "sketch" and "innovation" in Yi Yuanji's paintings and their influence on later generations.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】