“撞水撞粉”于没骨花鸟画的传承与发展研究

发布时间：2018-11-05 06:59

【摘要】：没骨法是不以工整勾勒墨线,而以温和淡雅的颜色完全着染的手法表现描绘对象,是中国传统花鸟绘画中一个独特的技法体系。撞水撞粉绘画技法传承于没骨画而有所发展。撞水撞粉绘画运用概括而不乏细腻的手法和精到洗练的色墨肌理表现物象,在非此似彼的千变万化间的自然肌理中泛起率真而野性的艺术表现,为画面平添几分细腻朦胧之天趣,并付予物象以丰硕寄意,是以淡化了物象而传达在其之外的自然生命之美。中国花鸟画自唐独立成科以来,经典作品及学术著作经历代画家的努力而层出不穷,并创造了许多艺术表现形式与笔墨程式的规范。本论文从花鸟画发展历史与其艺术性的角度,综合运用分析、归类、比较、图像等研究方法,以撞水撞粉法绘画为轴心,把其放在中国传统花鸟画历史、没骨花鸟画的传承与发展上作予研究,把握当中发生的形态特点以及史学意义,认识其在中国传统花鸟绘画历程上的重要作用。大量的作品图例分析研究表明,撞水撞粉绘画有以传达画者审美意志而随时代动态发展的特点,其水色交融的意蕴无穷、可变性所导致产生的不同形态在呈现出一种无拘束的浑然肌理正在被予以广泛应用。文中通过对“二居”撞水撞粉绘画技法的学习作以步骤范图,以此更好地呈现撞水撞粉绘画奇特而生动的艺术表现。再者对没骨花鸟画技法与撞水撞粉绘画技法的比拟分析,紧紧抓住撞水撞粉绘画与没骨花鸟画的艺术性特点,将此进行层次的技法分类,揭示在技法运用过程中所呈现的新的语汇与视觉形象,把理论学习、思考及创作经验联络加以整合与梳理,试图捕捉到一种迥异于传统绘画的新鲜美感,并指导实践。
[Abstract]:The boneless method is a unique technique system of Chinese traditional flower and bird painting, which is not to draw ink lines by finishing, but to depict the objects by using gentle and elegant color completely, which is a unique technique system in Chinese traditional flower and bird painting. The painting technique of colliding water and powder is inherited from no bone painting and has been developed. The painting of colliding water and powder is made up of fine and delicate techniques, and the color and ink texture that is refined to washing and practicing represents the material image, and in the natural texture of the ever-changing nature of this and the other, there is a frank and wild artistic expression. It adds some delicate and dim interest to the picture and gives the image a rich meaning. It is the beauty of natural life which is conveyed beyond it by desalinating the image. Since the independence of Tang Dynasty, Chinese flower-and-bird paintings have experienced the efforts of painters and created many forms of artistic expression and the standard of ink and ink formula. From the perspective of the development history and artistry of flower-and-bird painting, this paper comprehensively applies the research methods of analysis, classification, comparison, image and so on, and puts it in the history of Chinese traditional flower-and-bird painting with the impact of water and powder as its axis. The inheritance and development of the flower and bird painting without bone is studied, the shape characteristics and historical significance are grasped, and its important role in the painting process of Chinese traditional flowers and birds is recognized. The analysis of a large number of works shows that the painting of colliding water with powder has the characteristics of conveying the aesthetic will of the painters and developing with the times, and the implication of the blend of water color is infinite. The different forms caused by variability are being widely used to present an unfettered texture. In this paper, through the study of the painting techniques of "Erju", this paper makes a step diagram to better present the peculiar and vivid artistic expression of the painting of "water and powder impact". Furthermore, the comparative analysis of the techniques of the flower-and-bird painting without bones and the painting techniques of the impact of water and powder, tightly grasps the artistic characteristics of the painting of the impact of water and the powder and the painting of flowers and birds without bones, and classifies this technique into different levels. This paper reveals the new vocabulary and visual image presented in the application of techniques, integrates and combs the theoretical learning, thinking and creative experience, tries to catch a fresh aesthetic feeling that is completely different from traditional painting, and guides the practice.
【学位授予单位】：广东工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

【参考文献】