以《百花图卷》谈工笔花鸟画创作-美术(中国画花鸟)专业毕业论文.pdfVIP

目录 目录 中文摘要······················································Ⅰ 英文摘要······················································Ⅱ 引言··························································1 第一章：《百花图卷》的画面解读·································1 第一节：题材选择··········································1 第二节：置陈布势··········································2 第三节：笔墨语言 ··········································2 第四节：意境展现··········································3 第二章：《百花图卷》对我创作的影响·····························4 第一节：自然为上··········································4 第二节：探理求法··········································5 第三节：诗意表达··········································6 第四节：通古识今··········································7 结语··························································9 致谢··························································10 注释··························································11 参考文献······················································12 图例··························································13 III 第一章 《百花图卷》的画面解读 引言 [1] “学不师古，如夜行无火。” 王原祁曾这样写道。传统画作是夜行者的明灯，中 国文化的博大精深孕育其中，给后世的绘画创作者留下了诸多宝贵的财富。《百花图卷》 是具有承前启后开创特点的经典传统工笔花鸟画之一，绘于南宋年间。在她之前，工笔 花鸟画在其发展的鼎盛时期——北宋，已经形成了“黄家富贵”、“徐熙野逸”双葩齐放 的绘画局面。随后文人思潮的涌动，促使占主导位置的具有妍丽富贵气象的宫廷绘画， 逐渐被清新脱俗、雅致逸趣的士夫画代替。《百花图卷》就是在这样的时代背景中脱颖 而出，凭借其独特的艺术魅力烙刻于历史的碑石上。本文主要分析《百花图卷》的画面 表现，阐述绘画“理法”以及画卷中的“诗意”表达给我带来的创作启示及影响，从画 卷的文化意蕴层面挖掘画面表现背后的自然情怀和精神认知。因而以《百花图卷》的解 读为契机，进一步理解和阐释真、善、美如何有机的呈现在画面中。同时画卷所提倡的 从自然中领悟真谛，以自然为绘画审美至高追求的艺术主张，也进一步启发我们进行艺 术创造只有保持宠辱不惊的心态，摒弃浮华、功利诱惑，固守本真，才能成就心中的一 方净土。 第一章 《百花图卷》的画面解读 《百花图卷》无款识，作者不详。全卷纵31.5 厘米，横1679.5 厘米，作于南宋年 间，纸本墨色，现藏于北京故宫博物院。画面先后绘有梅花、山茶、罂粟、百合、石蒜、 凤仙等五十余种花卉，花间点缀禽鸟、草虫、蛱蝶、小鱼等活物，画面颇具自然生机和 情趣意味。全图以手卷的形式展开，在画卷的首末端钤有“乾隆御览之宝”、“嘉庆御览 之宝”、“宣统御览之宝”、“乾隆鉴赏”、“三希堂精鉴