“圆山四条派”与“岭南画派”绘画风格比较
发布时间：2019-04-20 11:50
【摘要】：“圆山四条派”和“岭南画派”分别是18世纪末至20世纪初日本和中国两个具有革新精神的画派,在绘画领域均具有举足轻重的历史地位。在两个画派的绘画语言中都有对本国传统笔墨的保留和对西方色彩的借鉴。这种“折衷”内外的特征均体现在当时的绘画作品中。正因为这些作品中既有传统笔墨又有西洋色彩,所以创作出来的绘画作品非常具有独特性。这在当时的日本京都深受市民喜爱,受这一思想影响的画家们也在日本美术史的改良中付出了巨大的贡献。就连我国近代一些赴日留学的画家们也在这些作品了找到了革新中国画的共鸣;尤其是广州地区的一些画家,他们回国后在广州岭南一带掀起了一股学习外来艺术的潮流。本文将以两个画派绘画风格中的共同点——“融合内外”为重点研究对象,通过研究两个画派的形成原因和经过,探讨二者之间的同质元素。文章分别从两个画派的产生因由与形成过程,内在画风之剖析与绘画风格之比较展开研究,通过对画派中代表性画家们绘画题材的选择;“折衷”审美理念的阐述;绘画语言的表达等内容的分析,去揭示其绘画中的写实主义笔墨和文人画色彩等审美特征;探究他们在绘画艺术中善于观察生活,勇于打破传统题材的创新精神;在创新的过程中依然保留传统绘画的精华,把中西技法结合之后形成自己的绘画风格。近而揭示圆山四条派和岭南画派绘画风格中“折衷”思想的现实意义和审美价值。
[Abstract]:"Yuanshan four School" and "Lingnan painting School" are two innovative painting schools in Japan and China from the end of 18th century to the beginning of 20th century, which play an important role in the field of painting. In the two painting languages, there are the preservation of the traditional Chinese ink and the reference to the western color. This "eclectic" internal and external characteristics are reflected in the painting at that time. Because these works have both traditional ink and western color, the paintings are very unique. This was popular in Kyoto, Japan at the time, and painters who were influenced by this thought also made great contributions to the improvement of Japanese art history. Even some Chinese painters who went to study in Japan in modern times also found resonance in these works, especially some painters in Guangzhou, who returned to Guangzhou and set off a trend of learning foreign art in the Lingnan area of Guangzhou. This article will focus on the common ground of the two painting styles-"Fusion inside and outside" as the focus of the study, through the study of the formation of the two schools and the process of the formation of the two schools of painting, to explore the homogeneous elements between the two. In this paper, the causes and forming process of the two schools of painting, the analysis of the internal painting style and the comparison of the painting styles are studied respectively, through the selection of the painting themes of the representative painters in the school of painting, the elaboration of the aesthetic idea of "compromise", and the comparison of the painting styles between the two schools of painting. The analysis of the expression of painting language reveals the aesthetic features of realism pen and ink and the color of literati painting, explores their ability to observe life in painting art, and dare to break the creative spirit of traditional subjects. In the process of innovation, it still retains the essence of traditional painting and forms its own painting style after the combination of Chinese and western techniques. It reveals the realistic significance and aesthetic value of the eclectic thought in the painting style of the four schools of Yuanshan and Lingnan painting.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
本文编号：2461584
[Abstract]:"Yuanshan four School" and "Lingnan painting School" are two innovative painting schools in Japan and China from the end of 18th century to the beginning of 20th century, which play an important role in the field of painting. In the two painting languages, there are the preservation of the traditional Chinese ink and the reference to the western color. This "eclectic" internal and external characteristics are reflected in the painting at that time. Because these works have both traditional ink and western color, the paintings are very unique. This was popular in Kyoto, Japan at the time, and painters who were influenced by this thought also made great contributions to the improvement of Japanese art history. Even some Chinese painters who went to study in Japan in modern times also found resonance in these works, especially some painters in Guangzhou, who returned to Guangzhou and set off a trend of learning foreign art in the Lingnan area of Guangzhou. This article will focus on the common ground of the two painting styles-"Fusion inside and outside" as the focus of the study, through the study of the formation of the two schools and the process of the formation of the two schools of painting, to explore the homogeneous elements between the two. In this paper, the causes and forming process of the two schools of painting, the analysis of the internal painting style and the comparison of the painting styles are studied respectively, through the selection of the painting themes of the representative painters in the school of painting, the elaboration of the aesthetic idea of "compromise", and the comparison of the painting styles between the two schools of painting. The analysis of the expression of painting language reveals the aesthetic features of realism pen and ink and the color of literati painting, explores their ability to observe life in painting art, and dare to break the creative spirit of traditional subjects. In the process of innovation, it still retains the essence of traditional painting and forms its own painting style after the combination of Chinese and western techniques. It reveals the realistic significance and aesthetic value of the eclectic thought in the painting style of the four schools of Yuanshan and Lingnan painting.
【学位授予单位】：河南师范大学
【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6条
1 胡云;;中国画现代转型两大途径的形成——20世纪上半叶中国画论争研究[J];美术教育研究;2015年17期
2 许晓彬;;写实主义之于日本画——兼谈20世纪初写实主义日本画对岭南画派的影响[J];世界美术;2011年04期
3 王炯;;论两宋院体画对日本狩野派山水画的影响[J];美术大观;2011年10期
4 阿丽达·阿拉比索,屈文军;宋代绘画及其对日本艺术的影响[J];暨南学报(哲学社会科学);1999年04期
5 张小鹭;当代日本艺术家的现代探索及东方意识[J];美术观察;1998年02期
6 夏硕琦;日本画印象——访日散记[J];美术;1990年03期
相关博士学位论文 前2条
1 张繁文;高剑父绘画艺术及其“折衷”思想研究[D];上海大学;2010年
2 尚可;中外绘画融合论研究[D];南京艺术学院;2006年
相关硕士学位论文 前6条
1 陆嘉玲;岭南画派的源流与当代广东花鸟画研究[D];广州大学;2013年
2 赵静益;论民国时期中国画改革的折衷性[D];浙江师范大学;2012年
3 赵芳;岭南画派的渊源及其地域特征[D];河北师范大学;2010年
4 刘盛楠;浮世绘审美特征研究[D];中南民族大学;2010年
5 黄晓丹;日本江户时期浮世绘的审美意蕴初探[D];福建师范大学;2010年
6 王嘉;岭南画派绘画思想研究[D];南京艺术学院;2005年
，本文编号：2461584
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2461584.html
