本文選題：寫意花鳥畫 + 崔子范先生　； 參考：《內(nèi)蒙古師范大學(xué)》2014年碩士論文

【摘要】：中國繪畫歷史悠久，源遠流長，歷朝歷代都出現(xiàn)了許多著名的畫家，正是這些著名的畫家把中國繪畫藝術(shù)的長廊裝飾得更加多姿多彩，推動了中國畫的不斷前進，自明清到近代出現(xiàn)了許多很有建樹的寫意花鳥畫大家。明代林良、呂紀(jì)的花鳥畫在繼承了宋、元花鳥畫傳統(tǒng)的同時，又把花鳥畫向前發(fā)展了一大步，，由工筆變成寫意；徐渭的大寫意潑墨花卉正是由于其坎坷的經(jīng)歷和高深的修養(yǎng)才成為了千古不朽的大作。清代的寫意花鳥畫在繼承了明代繪畫風(fēng)格的同時，不斷有新的突破，把寫意花鳥畫推向了高峰。這一時期的代表人物有八大山人、石濤和“揚州八怪”。近代寫意大師吳昌碩，他的寫意花鳥畫則更具有鮮明的創(chuàng)新精神，使寫意花鳥畫藝術(shù)達到了新的高峰。齊白石在繼承了八大山人、吳昌碩的基礎(chǔ)上，以他的生活經(jīng)歷為素材，創(chuàng)造了許多優(yōu)秀的作品，給后人留下了寶貴的遺產(chǎn)。進入新世紀(jì)以后，擅長大寫意花鳥畫的畫家數(shù)以千計，崔子范先生的繪畫作品以強烈的形式感而獨樹一幟于畫壇。 本論文從三個方面來研究崔子范先生的寫意花鳥畫，首先從良好的啟蒙教育時期、不畫而畫的準(zhǔn)備時期、半工半讀的求學(xué)時期、奮發(fā)進取的創(chuàng)新時期來分析崔子范先生的從藝道路，了解其藝術(shù)風(fēng)格形成的過程；其次從墨、線、構(gòu)圖、造型、用色等方面來研究崔子范先生寫意花鳥畫形式美的特色，重點以崔子范先生作品的圖式語言特征為例，歸納了其“拙”、“簡”、“艷”的藝術(shù)特色。最后總結(jié)崔子范先生寫意花鳥畫形式美的啟示，對崔子范先生寫意花鳥畫形式美的研究，給我們今后創(chuàng)作帶來的參考價值。
[Abstract]:Chinese painting has a long history and a long history. There have been many famous painters throughout the dynasties. It is these famous painters who decorate the promenade of Chinese painting art in a more colorful way, thus promoting the continuous progress of Chinese painting. Since the Ming and Qing dynasties to modern times, there have been many successful freehand brushwork of flowers and birds. Lin Liang and Lu Ji's flower-and-bird paintings in the Ming Dynasty inherited the tradition of the Song and Yuan flower-and-bird paintings, and at the same time developed the flower-and-bird paintings a big step forward, from meticulous brushwork to freehand brushwork. Xu Wei's freehand brushwork of splash-ink flowers is because of its rough experience and deep cultivation to become a monumental masterpiece. The freehand brushwork of the Qing Dynasty inherits the painting style of the Ming Dynasty, and at the same time, there are new breakthroughs, which push the freehand brushwork to the peak. The representative figures of this period are eight mountain people, Shi Tao and Yangzhou eight strange. The modern freehand brushwork master Wu Changshuo, his freehand brushwork flowers and birds painting has the bright innovation spirit, made the freehand brushwork flower and bird painting art has reached the new peak. On the basis of inheriting the eight mountain people, Wu Changshuo, Qi Baishi has created many excellent works and left a precious legacy to the posterity with his life experience as the material. After entering the new century, there are thousands of painters who are good at freehand brushwork of flowers and birds, and Mr. Cui Zifan's paintings are unique in the world of painting with a strong sense of form. This paper studies Mr. Cui Zifan's freehand brushwork of flower-and-bird painting from three aspects: first, the period of good enlightenment education, the period of preparation for painting instead of painting, and the period of studying part-time. The innovative period of enterprising to analyze Mr. Cui Zifan's art road and understand the process of its artistic style formation; secondly, from the aspects of ink, line, composition, modeling, color and so on, to study the characteristics of the formal beauty of Mr. Cui Zifan's freehand flower-and-bird painting. Taking the schematic language features of Cui Zifan's works as an example, the artistic features of "clumsy", "Jane" and "Yan" are summarized. Finally, it summarizes the inspiration of the formal beauty of Mr. Cui Zifan's freehand brushwork of flower-and-bird painting, and the research on the formal beauty of Mr. Cui Zifan's freehand brushwork of flower-and-bird painting, which will bring us the reference value in the future creation.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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相關(guān)期刊論文 前4條

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