石鼓文对吴昌硕写意花鸟艺术的影响之分析-analysis of shi guwens influence on wu changshuos freehand flower and bird painting.docxVIP

重庆大 重庆大学硕士学位论文 目 录 PAGE PAGE IV 目 录 中文摘要I 英文摘要 II 1 引 言 1 1.1 研究背景····································································································1 1.1.1 吴昌硕概况 1 1.1.2 石鼓文概况 2 1.1.3 写意花鸟概况、传承及演变 3 1.1.4 石鼓文与写意花鸟艺术的结合 4 1.2 研究现状····································································································5 1.2.1 历代石鼓文研究成果简述 5 1.2.2 吴昌硕写意花鸟艺术的研究现状 6 1.3 研究的目的及意义 ························································································8 1.3.1 研究目的 8 1.3.2 研究意义 8 1.4 研究的方法·································································································9 2 吴昌硕的写意花鸟与石鼓文 10 2.1 吴昌硕生平与写意花鸟艺术特点 ···································································· 10 2.1.1 吴昌硕生平 10 2.1.2 吴昌硕写意花鸟艺术特点 11 2.2 石鼓文书法风格及形体特征 ·········································································· 18 2.2.1 石鼓文的书法风格 18 2.2.2 石鼓文的形体特征 18 2.3 吴昌硕所书石鼓文与石鼓文入其金石篆刻 ························································ 20 2.3.1 吴昌硕所书石鼓文 20 2.3.2 石鼓文入吴昌硕的金石篆刻 24 2.4 在吴昌硕的写意花鸟画中石鼓文的应用 ··························································· 25 3 石鼓文对吴昌硕写意花鸟艺术在本质上的影响 26 3.1 石鼓文在“气”方面对吴昌硕写意花鸟艺术的影响 ··············································· 26 3.1.1 郁勃之气 27 3.1.2 清气 28 3.1.3 逸气 28 3.1.4 豪气和浩气 29 3.1.5 “金石气”入画 30 3.2 制作石鼓文的缘由迎合了吴昌硕的“士气” ························································ 31 3.3 石鼓文更能体现吴昌硕的坎坷经历 ································································· 31 3.4 “石鼓文用笔”是表现“气、力”的载体及手段······················································ 32 4 石鼓文对吴昌硕写意花鸟艺术在表象上的影响 35 4.1 以石鼓文用笔转换为绘画用笔方面 ································································· 35 4.2 石鼓文的结体章法对吴昌硕大写意花鸟艺术在造形和构图上的影响 ······················· 37 4.2.1 造型方面 38 4.2.2 构图方面 39 4.3 题跋中的石鼓文因素 ··················································································· 42 4.3.1 吴昌硕在题款方面由险绝而生的平衡美受石鼓文结体的影响 43 4.3.2 吴昌硕在题款方面虚实相生、疏密有致受石鼓文章法的影响 44 5 吴昌硕的写意花鸟艺术对后世的影响 46 5.1 为传统中国画在近代美术史上争得一席之地 ·················