论恽寿平对徐崇嗣“没骨花”的继承与创新

发布时间：2018-07-08 10:53

本文选题：恽寿平 + 没骨　；参考：《南昌大学》2013年硕士论文

【摘要】：“没骨”作为一种创作技法早在新石器时代就已出现在各类彩陶器具上,如鹳鱼石斧彩陶瓮等。张僧繇的“凹凸花”采用的也是“没骨”的创作手法。但直至北宋徐崇嗣时期“没骨”才得以正式被命名。在徐崇嗣前,多数画家推崇水墨作品,讲究墨笔的骨气,在他之后,尽管也有不少画家创作以“没骨花”为题材的作品但都没有将“没骨”的技法发挥得淋漓尽致。以至于“没骨”题材的作品在画坛上没有占据比较重要的地位。清代初期恽寿平在学习徐崇嗣“没骨花”的基础之上,结合宋人花鸟和元人墨画,大力发展“没骨花”技法,在继承传统的基础上,进行绘画技法的改革创新,将“没骨花”的艺术成就推向了巅峰。在当下,艺术发展走向多元化,我们重温恽寿平没骨花鸟的创作历程,更能让我们体会对待艺术除了坚守更多的是在坚守中的创新,这也很好的验证了石涛在《苦瓜和尚话语录》中崇尚的绘画必须“借古以开今”的理论。
[Abstract]:As a creative technique, Bones without Bone has appeared in various painted pottery utensils in the Neolithic Age, such as stork fish stone axe pottery urn and so on. Zhang Sengyou's Concave and Convex Flowers also adopt the techniques of "no bones". But it was not until the Northern Song Xu Chongsi period that the Bones were officially named. Before Xu Chongsi, most painters respected ink painting and paid attention to the strength of ink pen. After that, although many painters created works on the subject of "no flower of bone", they did not give full play to the technique of "no bone". So that the theme of "no bones" works in the painting has not occupied a more important position. In the early Qing Dynasty, Yun Shuping, on the basis of studying Xu Chongsi "no flower of bone", combined with the painting of flowers and birds of Song Dynasty and ink painting of Yuan Dynasty, vigorously developed the technique of "no bone flower", and carried on the reform and innovation of painting technique on the basis of inheriting the tradition. To the peak of the artistic achievement of "Flower without bones". At present, the development of art is going to be diversified. We review Yun Shuping's creative history of flowers and birds without bone, and can make us realize that in addition to sticking to art more than sticking to it is innovation in sticking to it. It also verifies Shi Tao's theory that painting must be opened by the ancient times.
【学位授予单位】：南昌大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】