本文選題：清代碑學 + 吳昌碩　； 參考：《曲阜師范大學》2014年碩士論文

【摘要】：清代晚期，社會局勢動蕩不安，復雜的社會文化背景及其經(jīng)濟、政治等各種主客觀因素推動了書法審美思潮的改變并促進了清代碑學的偉大復興。由于帖學自身發(fā)展的局限性，清代碑學以其自身優(yōu)勢取代了盛行已久的帖學書風。清代碑學，這個與傳統(tǒng)帖學相左的藝術形式一時大興。受清代碑學審美思潮的影響，為了順應時代的潮流、迎合受眾的審美趣向，諸位藝壇大家開始紛紛棄帖臨碑。于是，中國書法的審美思想體系發(fā)生巨變，碑學書法以其厚重、樸拙的審美風格交替取代了帖學書法審美的清淡、雅逸。自古以來的書畫理論和實踐證明了書法與繪畫之間的密切關系，繪畫領域敏感地回應著書法領域的變化。吳昌碩，作為近代中國畫壇具有開創(chuàng)性業(yè)績的藝術大師，將碑學書法的審美思想成功地運用到中國傳統(tǒng)繪畫中。他站在歷史的交點上匯聚了傳統(tǒng)的魅力和所處時代的時代精神，形成了自己獨創(chuàng)性的繪畫風格。這種借鑒和再創(chuàng)造不僅大大地拓展了中國傳統(tǒng)繪畫筆墨語言等藝術的表現(xiàn)形式，更將其延伸到了精神層面。吳昌碩“以書入畫”的成功實踐對中國傳統(tǒng)繪畫的發(fā)展起到了推波助瀾的作用，并在今天仍有著非常重要的研究意義。 本篇論文分為三個大的組成部分：文章第一大部分重點概述清代碑學并提出論點，，闡述梳理清代碑學的發(fā)展及其理論的提出過程與清代碑學審美思潮的轉(zhuǎn)變及其原因。第二大部分重點闡述清代碑學審美思潮的轉(zhuǎn)變對吳昌碩書風畫風的影響。在這一部分，我首先將吳昌碩所處時代的復雜社會背景和吳昌碩的生平經(jīng)歷分成早、中、晚年三個時期進行簡單介紹，為下文做鋪墊；然后分別從書法的筆法、墨法、章法和氣韻等四個部分詳細分析碑學書風影響下的吳昌碩書法；最后，我將重點專注于剖析碑學審美思潮影響下的吳昌碩繪畫，從“氣”和“勢”方面、筆墨轉(zhuǎn)換方面、用色方面、造型和構(gòu)圖方面以及從題跋和金石入畫等方面探究碑學書風對吳昌碩繪畫的影響然后證明論點，這一小部分是這一章的重點，也是本文的重點。文章第三大部分作為本篇論文的總結(jié)，分析吳昌碩“引書入畫”對中國傳統(tǒng)繪畫的巨大影響及現(xiàn)實意義。
[Abstract]:In the late Qing Dynasty, the social situation was unstable, complicated social and cultural background, economy, politics and other subjective and objective factors promoted the change of aesthetic trend of thought in calligraphy and promoted the great revival of tablet study in Qing Dynasty. Due to the limitation of its own development, the tablet study of Qing Dynasty replaced the popular style of calligraphy with its own advantages. Tablet study in the Qing Dynasty, this art form contrary to the traditional study of the art was popular for a while. Influenced by the aesthetic trend of tablet study in the Qing Dynasty, in order to conform to the trend of the times and cater to the aesthetic interest of the audience, everyone in the art circle began to abandon the tablet. As a result, the aesthetic thought system of Chinese calligraphy has changed dramatically, and tablet calligraphy has replaced the delicate and elegant aesthetic style of post calligraphy with its thick and sincere aesthetic style. The theory and practice of calligraphy and painting since ancient times have proved the close relationship between calligraphy and painting, and the field of painting sensitively responds to the changes in the field of calligraphy. Wu Changshuo, as an art master with pioneering achievements in modern Chinese painting, successfully applied the aesthetic thought of tablet study and calligraphy to Chinese traditional painting. Standing at the intersection of history, he converged the traditional charm and the epoch spirit of his time, and formed his own original painting style. This kind of reference and re-creation has not only greatly expanded the expression forms of Chinese traditional painting, brush and ink language, but also extended it to the spiritual level. Wu Changshuo's successful practice of "entering painting with Books" has played an important role in the development of Chinese traditional painting, and still has a very important research significance today. This paper is divided into three major parts: the first part of the article focuses on the introduction of the Qing Dynasty tablet study and put forward the argument, and expounds the development of the Qing Dynasty tablet study and the development of the theory and the change of aesthetic trend of thought of the Qing Dynasty tablet study and its reasons. The second part focuses on the influence of the change of aesthetic trend of tablet study on Wu Changshuo's style of calligraphy and painting. In this part, I first divided the complex social background of Wu Changshuo era and Wu Changshuo's life experience into early, middle and late years to make a brief introduction for the following; then from the calligraphy method, ink method, I will focus on the analysis of the Wu Changshuo painting under the influence of the aesthetic trend of tablet studies, from the aspects of "Qi" and "potential", and from the aspects of pen and ink conversion, I will focus on the analysis of Wu Changshuo calligraphy under the influence of the style of calligraphy and calligraphy. In terms of color, shape and composition, and from the aspects of inscriptions and inscriptions, the influence of calligraphy style on Wu Changshuo painting is explored, and then the argument is proved. This small part is the focus of this chapter and is also the focus of this paper. The third part is a summary of this paper, analyzing Wu Changshuo's great influence on Chinese traditional painting and its practical significance.
【學位授予單位】：曲阜師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

【參考文獻】

相關期刊論文 前1條

1 張凱英;;淺談中國畫的構(gòu)圖特征[J];雁北師范學院學報;2006年04期

本文編號：1809160