笔情墨韵,物化同心——“四君子”在传统绘画中的人格美研究.pdfVIP

目录 摘 要 ·······················································································································I Abstract·····················································································································II 引 言 ·······················································································································1 一、“四君子”题材在中国绘画史中的发展概况······················错误!未定义书签。 1、梅兰竹菊“四君子”的由来 1 2、“四君子”题材在宋代独立成科 2 3、元代“四君子”画开始流行 3 4、明清两朝“四君子”题材达到繁盛 3 5、民国以来描绘“四君子”之风至今不衰 4 二、梅兰竹菊的人格美···························································································4 1、“四君子”被人格化的哲学基础 4 2、“四君子”被人格化的外在因素 5 3、“四君子”题材的人格化表现 6 （1） 梅，铁骨铮铮，傲寒独放 6 （2） 兰，幽香山野，独具魅力 7 （3） 竹，吟风诵月，潇洒一生 8 （4） 菊，迎霜独放，淡泊名利 9 4、“四君子”的人格内涵有时代特性 9 三、“四君子”的人格美在绘画中的体现····························································10 1、画梅讲“骨”：刚劲流畅，风骨翩然 10 2、画兰讲“清”：风姿秀雅，清香宜人 11 3、画竹讲“节”：潇洒舒展，形如刀削 12 4、画菊讲“傲”：婉转迂回，清雅之极 13 四、“四君子”人格内涵产生的启示和影响························································13 1、画品即人品 13 2、“四君子”的文化精神在其他方面的运用 14 结 语 ······················································································································15 参考文献··················································································································16 在校期间发表的学术论文及艺术作品··································································18 致 谢 ······················································································································19 笔情墨韵，物化同心—— “四君子”在传统 绘画中的人格美研究 引言 中国的绘画艺术在我国民族文化精神的孕育下，不断地发展和完善，经过数千年的历 练，形成了我国独有的民族艺术特征。梅兰竹菊在我国的思想观念中早已被认为是一种文 化象征，梅花的孤傲，兰花的高雅，竹子的刚正和菊花的幽然，这些分别象征着高雅、顽 强、隐逸、谦虚等精神品格。梅、兰、竹、菊作为独立的科目来被反复表现，很明显是在 表达它们特殊的文化内涵，赋予它们特殊的含义，以抒发自身的个人情感。