本文選題：宋代繪畫 + 寫實(shí)性繪畫　； 參考：《西安美術(shù)學(xué)院》2013年碩士論文

【摘要】：工筆花鳥畫是我國(guó)傳統(tǒng)繪畫中的一個(gè)重要類型。其在唐代獨(dú)立成為一門畫種，經(jīng)過五代的發(fā)展，到宋代達(dá)到藝術(shù)的巔峰。宋代之后工筆花鳥畫雖然陷入了發(fā)展的低谷，但是其作為一種創(chuàng)作形式并沒有消失，因而在二十世紀(jì)初隨著歷史背景的改變，又重新得以復(fù)興。如今在全球化的時(shí)代背景下，當(dāng)代工筆花鳥畫在中西文化產(chǎn)生的頻繁碰撞和融合中，其創(chuàng)作在繼承了宋代工筆花鳥畫寫實(shí)風(fēng)格的基礎(chǔ)上也呈現(xiàn)出多樣化的藝術(shù)形式。當(dāng)代工筆花鳥畫在對(duì)宋代工筆花鳥畫的藝術(shù)風(fēng)格進(jìn)行繼承和發(fā)展的同時(shí)，由于時(shí)空背景的割裂，畫家在創(chuàng)作時(shí)也存在著一些困惑和問題。 近些年，國(guó)內(nèi)外眾多學(xué)者都在繪畫的寫實(shí)性，，構(gòu)圖方面的研究與創(chuàng)新，以及對(duì)傳統(tǒng)色彩繼承與發(fā)展，材料的創(chuàng)新等方面做了大量的研究工作，但是當(dāng)代工筆花鳥畫的發(fā)展更加離不開本國(guó)傳統(tǒng)繪畫的繼承，因此，本文在前人研究成果的基礎(chǔ)上，運(yùn)用圖像學(xué)、歷史學(xué)、形式分析等相關(guān)研究方法，從對(duì)宋代工筆花鳥畫寫實(shí)風(fēng)格和當(dāng)代工筆花鳥畫發(fā)展現(xiàn)狀的研究入手，通過對(duì)宋代寫實(shí)風(fēng)格形成過程、特征及其形成原因進(jìn)行發(fā)掘，進(jìn)而研究當(dāng)代工筆花鳥畫對(duì)宋代寫實(shí)之風(fēng)的繼承和發(fā)展，探討當(dāng)代工筆花鳥畫繼承和發(fā)展中存在的問題，最后提出筆者對(duì)當(dāng)代工筆畫的思考。
[Abstract]:Meticulous flower and bird painting is an important type of Chinese traditional painting. It became an independent painting in the Tang Dynasty. After the development of the Five Dynasties, it reached the peak of the Song Dynasty. After the Song Dynasty, the painting and bird painting was in a low development Valley, but it did not disappear as a form of creation, so it was back in the early twentieth Century with the history back. In the background of the era of globalization, the contemporary works of flower and bird painting in the frequent collision and integration of Chinese and Western culture, whose creation also presents a variety of artistic forms on the basis of inheriting the realistic style of the painting and bird painting in the Song Dynasty. At the same time, because of the separation of time and space, painters also have some confusion and problems in their creation.
In recent years, many scholars both at home and abroad have done a lot of research and innovation in the realism and composition of painting, as well as the inheritance and development of traditional colors, and the innovation of materials. However, the development of Contemporary Meticulous flower and bird painting can not be separated from the inheritance of traditional Chinese painting. Therefore, this article is based on the basis of previous research results. On the basis of the research methods of iconography, history and form analysis, this paper starts with the study of the realistic style of the painting and bird painting in the Song Dynasty and the present situation of the development of contemporary paints and birds, through the exploration of the forming process of the realistic style of the Song Dynasty, the characteristics and the reasons for its formation, and then studying the inheritance of the realistic style of the contemporary works of flowers and birds in the Song Dynasty and the inheritance of the style of the Song Dynasty. To explore the problems existing in the inheritance and development of contemporary fine brushwork flower and bird painting, and finally put forward the author's Thoughts on contemporary fine brushwork.

【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 宋曉霞;工筆畫的傳統(tǒng)與現(xiàn)代發(fā)展研究[D];中央美術(shù)學(xué)院;2008年

本文編號(hào)：1855024