八大山人与潘天寿荷花作品比较研究
发布时间：2018-08-23 19:23
【摘要】：在中国绘画的历史发展过程中,有一个我们永恒的话题——中国画的继承与创新。在大写意花鸟画发展的历史长河中,正是由于很多画家不断的学习和吸收古人的优秀成果和经验,并结合自身的思想情感和所处的时代环境进行创新,因此,中国画的发展有着紧密的联系,传承性与创新性贯穿其中。不论哪一位杰出的画家,如果只是一味的临摹前人而没有自己的独特的创新与发展,很难形成自己的绘画风格,并且很快被历史所淘汰。荷花题材作为花鸟画中比较常见的绘画题材被很多的文人画家所喜爱。本文以荷花题材作为文章的切入点,以八大山人和潘天寿这两位花鸟画大家为研究对象,探究他们在用笔用墨,章法布局,色彩和造型等一些方面的关联性和差异性,并结合八大山人和潘天寿所处的历史时代,成长经历等探究和分析造成这种差别的原因,结合古人的绘画作品,寻找出二者对前人优秀成果的继承与创新。特别是二者在荷花题材方面对后世的影响,以及启示我们在以后的中国画学习中如何正确的看待继承与创新的关系,并对我的花鸟画学习以及创作提供借鉴。
[Abstract]:In the historical development of Chinese painting, there is an eternal topic-the inheritance and innovation of Chinese painting. In the long history of the development of large freehand flower-and-bird paintings, it is precisely because many painters constantly learn and absorb the outstanding achievements and experiences of the ancients, and combine their own thoughts and feelings and the environment of the times to innovate, therefore, The development of Chinese painting has a close relationship, inheritance and innovation run through it. No matter which outstanding painter, if only blindly copy the predecessors without their own unique innovation and development, it is difficult to form their own painting style, and quickly eliminated by history. As a common painting theme of flower and bird painting, lotus theme is loved by many literati painters. In this paper, the theme of lotus as the entry point of the article, eight mountain people and Pan Tianshou, two flower-and-bird paintings as the object of study, to explore their pen in the use of ink, the layout, color and shape and other aspects of the relevance and difference. And combined with the eight mountain people and Pan Tianshou in the historical era, growth experience and so on to explore and analyze the causes of this difference, combined with the ancient paintings, to find out the inheritance and innovation of their predecessors' outstanding achievements. Especially the influence of the two on the theme of lotus to later generations, and enlighten us how to correctly look at the relationship between inheritance and innovation in the later study of Chinese painting, and provide reference for my study and creation of flower and bird painting.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
本文编号：2199677
[Abstract]:In the historical development of Chinese painting, there is an eternal topic-the inheritance and innovation of Chinese painting. In the long history of the development of large freehand flower-and-bird paintings, it is precisely because many painters constantly learn and absorb the outstanding achievements and experiences of the ancients, and combine their own thoughts and feelings and the environment of the times to innovate, therefore, The development of Chinese painting has a close relationship, inheritance and innovation run through it. No matter which outstanding painter, if only blindly copy the predecessors without their own unique innovation and development, it is difficult to form their own painting style, and quickly eliminated by history. As a common painting theme of flower and bird painting, lotus theme is loved by many literati painters. In this paper, the theme of lotus as the entry point of the article, eight mountain people and Pan Tianshou, two flower-and-bird paintings as the object of study, to explore their pen in the use of ink, the layout, color and shape and other aspects of the relevance and difference. And combined with the eight mountain people and Pan Tianshou in the historical era, growth experience and so on to explore and analyze the causes of this difference, combined with the ancient paintings, to find out the inheritance and innovation of their predecessors' outstanding achievements. Especially the influence of the two on the theme of lotus to later generations, and enlighten us how to correctly look at the relationship between inheritance and innovation in the later study of Chinese painting, and provide reference for my study and creation of flower and bird painting.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
【参考文献】
相关期刊论文 前3条
1 朱良志;;八大山人艺术的孤独精神[J];文艺争鸣;2010年16期
2 孟宪伟;;禅宗与八大山人的写意花鸟画[J];美与时代;2007年11期
3 张馨之;;八大山人山水画的笔墨形式与造境[J];美术;2007年08期
相关硕士学位论文 前8条
1 胡静静;八大山人荷花题材的绘画研究[D];陕西师范大学;2014年
2 易翼;齐白石与潘天寿花鸟画笔法、章法比较研究[D];广西师范大学;2014年
3 李涛;八大山人、潘天寿绘画构图对照研究[D];河北师范大学;2013年
4 严帅;潘天寿对中国画的继承与革新[D];河北大学;2013年
5 刘桂秀;八大山人花鸟画布局研究[D];东北师范大学;2013年
6 陈昭;八大山人花鸟画“空白”研究[D];中央美术学院;2013年
7 李桂娟;八大山人写意花鸟画构图研究[D];河北大学;2010年
8 李天锁;潘天寿绘画形式张力研究[D];河北师范大学;2008年
，本文编号：2199677
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2199677.html
