本文選題：西安之行 + 繪畫風(fēng)格��； 參考：《陜西師范大學(xué)》2015年碩士論文

【摘要】：齊白石是我國20世紀(jì)最偉大的畫家之一,他以木工出身,卻在自己的不懈追求下成為一位入俗而得雅賞的藝人,用最為普通平凡的題材創(chuàng)造出了藝術(shù)的奇跡。齊白石幼時因家庭貧苦、身體孱弱而學(xué)木匠,此后他憑借自己的努力和聰明才智從一位普通的木匠轉(zhuǎn)而成為畫師,并在恩師胡沁園和眾多朋友的幫助下不斷提升自身修養(yǎng),成為一位具有相當(dāng)文化素質(zhì)的畫師。在其40歲時,齊白石受好友夏午詒的邀請赴西安教姚無雙學(xué)畫,后又跟隨夏午詒至北京；此間雖不足一年,但在這段時間里,齊白石游歷了西安碑林、大雁塔、華清池等古跡名勝,結(jié)識了著名詩人樊樊山,飽覽了眾多古代名畫真跡,在李筠庵處接觸到了魏碑,眼界為之大開。首次離開湖南遠(yuǎn)赴北方,一路的自然風(fēng)光和人文風(fēng)情讓齊白石的生活閱歷進一步豐富,也進一步驗證了古人作品和藝術(shù)理論中的真諦。因而,1902年的西安之行作為齊白石一生中首次走出湖湘地區(qū),對于他眼界的開闊、知識面的豐富、藝術(shù)體驗的增強、書法修為的提升、藝術(shù)觀念的轉(zhuǎn)變等諸多方面都有著無可替代的作用和意義,亦為齊白石的“衰年變法”和此后的藝術(shù)成就奠定了基礎(chǔ)地位。本文的第一章緒論,主要論述了齊白石1902年西安之行對其繪畫風(fēng)格的影響的研究意義,有助于我們更好的了解齊白石第一次遠(yuǎn)行。第二章主要結(jié)合齊白石的生平、背景對其1902年西安之行進行簡要概述,并分析其西安之行的動因。第三章主要論述齊白石1902年西安之行對其繪畫風(fēng)格的影響,從西安之行前后的書風(fēng)、畫風(fēng)、藝術(shù)觀念等進行對比分析,逐漸由工細(xì)一路轉(zhuǎn)向?qū)懸庵L(fēng)。第四章主要論述了陜西師范大學(xué)圖書館館藏刑徒磚拓片與齊白石早期書風(fēng)的淵源,骨力雄健、氣韻通靈,寓古拙之美于畫中�？偟膩碚f,本文在前人有關(guān)齊白石的論述的基礎(chǔ)上,對其1902年西安之行進行系統(tǒng)的闡述,以對齊白石的首次出行能有新的認(rèn)識,從不同于以往的角度來全面研究齊白石1902年西安之行對其繪畫風(fēng)格的影響。
[Abstract]:Qi Baishi is one of the greatest painters in the 20th century in our country. He was born in carpentry, but he became an entertainer of vulgarity under his unremitting pursuit, and created the miracle of art with the most ordinary subject matter. Qi Baishi became a carpenter when he was young because of his poor family and weak health. After that, he turned from an ordinary carpenter to a painter with his own efforts and ingenuity, and with the help of teacher Hu Qinyuan and many friends, he continued to improve himself. Become a painter with quite a cultural quality. At the age of 40, Qi Baishi was invited by good friend Xia Wuyi to Xi'an to teach Yao Wu-yi painting, and then went to Beijing with Xia Wu-yi. Although it was less than a year ago, Qi Baishi visited the Forest of Steles and the Big Wild Goose Pagoda in Xi'an during this period. Huaqingchi and other historic sites, known the famous poet Fan Shan, a lot of ancient paintings of the original, in Li an Junjun contact Wei tablet, open the horizon for it. Leaving Hunan for the north for the first time, the natural scenery and human amorous feelings along the way further enriched Qi Baishi's life experience, and further verified the true meaning of ancient works and art theory. Therefore, the trip to Xi'an in 1902, as the first time in Qi Baishi's life to go out of Huxiang area, opened his horizons, enriched his knowledge, enhanced his artistic experience, and promoted his calligraphy practice. The change of artistic concept has irreplaceable function and significance, and it also lays a foundation for Qi Baishi's "declining year Reform" and later artistic achievements. The first chapter of this paper is an introduction, which mainly discusses the significance of the study on the influence of Qi Baishi's visit to Xi'an in 1902 on his painting style, which is helpful for us to better understand Qi Baishi's first long trip. The second chapter mainly combines the life of Qi Baishi, the background of Xi'an in 1902 briefly summarized, and analyzed the motivation of his visit to Xi'an. The third chapter mainly discusses the influence of Qi Baishi's visit to Xi'an in 1902, from the book style, painting style, artistic concept before and after the trip to Xi'an, and gradually changes from meticulous to freehand brushwork. The fourth chapter mainly discusses the origin of the brick rubbings in the library of Shaanxi normal University and Qi Baishi's early book style. In general, based on the previous exposition about Qi Baishi, this paper systematically expounds the trip to Xi'an in 1902 in order to have a new understanding of the first trip of Qi Baishi. This paper studies the influence of Qi Baishi's visit to Xi'an in 1902 on his painting style from a different point of view.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前1條

1 溫友言;;齊白石的西安之行[J];西北大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1990年01期

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本文編號：2077937