元代花鸟画的笔墨精神研究.pdfVIP

元代花鸟画的笔墨精神研究 摘 要 元代是中国绘画史上一个极其重要的转折点，这个时期开始了中国花鸟画由宫 廷写实为主转向以文人水墨写意为主的格局。在这个转换过程中，文人的审美意境 日渐突出，赵孟頫提出 “书画本来同”的观点是在绘画创作过程中对书法用笔的阐 释与倡导。 在元代特殊的社会文化背景下，绘画发展折射出的是画家自我意识的觉醒与价 值观的转变。这种转变反映到画面上表现为注重笔情墨趣，画面不是仅仅表现自然 物象的客观形象以此取悦于人或是装饰作用，而是以自然物象为载体通过丰富的用 笔用墨变化来呈现创作主体的精神追求。同时由于文人的自觉加入绘事群体，提高 了绘事群体的文学修养从而增加了绘画的文学性。元代花鸟画的笔墨是兼备造型性 和写意精神的，同时显现出文人不拘一格的超逸精神，抒写君子品性的人格精神。 对元代花鸟画中笔墨精神的研究，能够清晰的探寻花鸟画由宋至元、再到明代 的发展脉络，其中有借鉴亦有改变和发展，能够从中探索花鸟画发展的动力与趋势。 关键词：元代；花鸟画；笔墨；精神 I A STUDY ON THE SPIRIT OF THEPAINTINGOFFLOWERS AND BIRDSIN YUAN DYNASTY The Yuan Dynasty is a very important turning point in the history of Chinese painting. In thisperiod,thepattern of Chinese flower andbirdpainting changed from palacerealism to literati ink freehand. In the process of transformation, the aesthetic mood of literati is increasingly prominent.Zhao Mengfu put forward the view that calligraphy and painting are the same as each other to explain and advocate calligraphy brush in the process of painting creation. In the special social and cultural background of Yuan Dynasty, the development of painting reflects the awakening of painters self-consciousness and the change ofvalues.Thiskind oftransformation isreflected in theemphasison the interest of pen and ink on the screen. The screen is not only to show the objective image of the natural image topleasepeople or decorate,but to show the spiritualpursuit ofthe creative subject through rich changes of pen and ink on the carrier of the natural image. At the same time,the literati consciouslyjoined the group of picture events,which improved the literary accomplishment of the group of picture events and thus increased the literariness of painting. The painting of flowers and birds in Yuan Dynasty has both modeling and freehand brushwork spirit. At the same time, it shows the free spirit of literati and