恽寿平没骨花卉的艺术风格及其对现当代没骨花鸟画的影响

发布时间：2018-05-10 05:29

本文选题：恽寿平 + 没骨花卉　；参考：《山东工艺美术学院》2013年硕士论文

【摘要】：恽寿平（1633—1690），初名格，字寿平，后以字行，改字正叔。号南田，别号瓯香散人、横山樵、东园客、云溪外史、白云外史等，江苏武进（又称毗陵，，今常州）人。恽寿平是清代早期的著名画家，他兼擅山水与花卉，尤取各家之长，是清初画坛“六大家”之一。恽寿平不仅绘画创作成果颇丰，他所创立的恽派没骨花卉风行整个清代，学者甚众，形成“常州派”，而且他的画论思想也十分深刻，这集中体现在《南田画跋》和《瓯香馆集》中，特别是《南田画跋》，收集其题画跋语300多条，其中不少精辟见解，一直为后人所重。在对待传统与创新问题上，他提出不但要师法古人，而且要师法造化，并进而以心灵静照为理想归宿。恽寿平重视对古代画家画法的学习，但不被古人所束缚，他提倡一种“非古非今、洗脱畦径”的画风，这种绘画创作方法和态度在他的作品中也得到充分反映。针对当时文人画一味追求神似、轻视写实的倾向，恽寿平提出绘画要重视写生，强调形准，“以极似求不似”，在绘画技法上他也强调笔墨的训练，注重对前人绘画作品的临摹，他认为中国画“笔中之笔、墨外之墨”的境界需要有精熟的笔墨技巧才能达到，反对那种忽略笔墨技法而空谈画外之意的不良习气。恽寿平的画论思想在如何继承绘画传统与创新方面颇有新意，对后世影响深远。他的山水画与花卉画自成一格，独立门户，艺术成就很高。恽寿平创制仿北宋徐崇嗣的“没骨花卉”画法，结合了宋代院体画与元人写意画的长处，是一种可贵的艺术尝试。他的“没骨花卉”画为清代以及近代的花卉画创作开辟了新的道路，推动了花鸟画科在清代以后的延续和发展。本文以恽寿平的没骨花卉画为主线，结合自身花鸟专业创作实践，从没骨画法的渊源，沿着历史发展的演变历程，探究恽寿平没骨花卉画风的时代成因、艺术风格、创作思想等各种因素，分析恽寿平没骨花卉的独创性成就、主要艺术特征、历史地位以及对后世的影响，并简要分析现当代没骨画的发展现状。从而得出重要命题：在当下花鸟画发展的今天，把握艺术时代的节奏，提升艺术家自身修为，融汇古今，贯通传统与现代的审美观才是没骨画与时俱进的最佳融合。
[Abstract]:Yun Shouping Li 1633-1690, the first name of the case, word Shouping, after the word line, to change the word uncle. No. Nantian, other ou Xiang scattered people, Hengshan firewood, Dongyuan guest, Yunxi external history, white clouds history, Jiangsu Wujin (also known as Biling, Changzhou today) people. Yun Shuping was a famous painter in the early Qing Dynasty. Yun Shouping was not only quite successful in his painting creation, his Yun School was popular throughout the Qing Dynasty without bones and flowers, many scholars formed the "Changzhou School", and his painting theory thought was also very profound. This is embodied in Nantian painting Postscript and ou Xiang Guanji, especially in Nantian painting Postscript, which has collected more than 300 postscript words, many of which have been emphasized by later generations. In dealing with the problem of tradition and innovation, he proposed not only to learn from the ancients, but also to learn from the method of creation, and then take the mind as the ideal destination. Yun Shuping attached great importance to the study of the painting method of ancient painters, but was not bound by the ancients. He advocated a painting style of "not ancient and modern, eluting the path of the border", and this painting method and attitude were also fully reflected in his works. In view of the tendency of literati paintings to blindly pursue likeness and despise realism, Yun Shuping put forward that painting should attach importance to sketching, emphasizing shape accuracy, and "seeking no resemblance with great likelihood". In painting techniques, he also emphasized the training of strokes and ink. Paying attention to the copying of previous paintings, he thinks that the realm of Chinese painting "pen in pen, ink outside ink" requires fine brush and ink skills to achieve, and opposes the bad habit of neglecting ink techniques and talking about the meaning of painting. Yun Shouping's painting theory has new ideas on how to inherit painting tradition and innovation, and has a profound influence on later generations. His landscape painting and flowers into a unique style, independent portal, artistic achievements are very high. Yun Shuping created the painting method of "Flower without Bone", which imitated Xu Chongsi in the Northern Song Dynasty, combined the advantages of Yuan Dynasty painting with Yuan Dynasty's style painting, and was a valuable artistic attempt. His painting "Flower without Bone" opened a new way for the creation of flower painting in Qing Dynasty and modern times, and promoted the continuation and development of Flower and Bird painting after Qing Dynasty. This article takes Yun Shuping's boneless flower painting as the main line, combines his own flower and bird professional creation practice, from the origin of no bone painting method, along with the evolution course of historical development, probes into Yun Shuping's artistic style and the cause of the formation of the style of the flower painting without bone. This paper analyzes Yun Shuping's original achievements, main artistic features, historical status and its influence on later generations, and briefly analyzes the present situation of the development of modern and contemporary boneless paintings. Thus an important proposition: in the present development of flower-and-bird painting today, grasp the rhythm of the art era, improve the artist's own repair, fusion of ancient and modern, through the traditional and modern aesthetic is the best combination of no bone painting with the times.
【学位授予单位】：山东工艺美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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