明代写意花鸟画溯源研究

【作者】 阴澍雨；

【导师】 薛永年； 张立辰；

【作者基本信息】 中央美术学院 ， 美术学， 2011， 博士

【摘要】 花鸟画是我国中国画艺术的重要组成部分,而“写意”是花鸟画创作的几种基本语言之一。从源头上推敲,原本与“写生”相对而产生、使用的“写意”‘词,已经从原始所指的创作态度和创作目的,转变成为当下的中国花鸟画创作语境中的一类技法的总称。作为技法语言的“写意”,在中国花鸟画创作中占有极为重要的地位,这与文人在绘画中的地位成正相关的关系。是文人的趣味导致了写意风格的兴盛,更是文人的艺术史书写导致了写意技法地位的巩固和提升。作为艺术史的一般常识,明代是写意花鸟创作的高峰,期间出现了“青藤白阳”为代表的高峰。可以认为是徐渭的大写意技法将花鸟绘画推向了一个新的阶段,笔墨技巧极大丰富,表现能力极大提高,创作对象极快拓展,这些都是前代所没有的。可以说,明代是“写意”产生和发展的关键时段。但是在这一常识的背后,至今仍存在一些未能解决的问题。如：徐渭是何时开始,又是为何、如何被人看成写意花鸟画巅峰的；相互并称的“青藤”和“白阳”之间,究竟有何关联,他们是否真的存在传承或影响的关系；“青藤白阳”的艺术风格是自出机杼还是各有传承；写意语言的发展,即我们一般所称的从小写意到大写意,是否存在一条艺术自律性发展的线索?等等。关于以上的这些问题,尤其是最后一个问题,前人或有涉及,但大都简而略之,一笔带过；稍有研究的,也大多从社会学和传世文献入手,用看似无疑的文字记载为抽象的技法传承寻找依据。面对这些问题,作为实践类的学习者,本人希望从艺术本体,即写意语言的具体分析入于,来探究“写意花鸟”在有明一代的自律性发展状况。希望从艺术语言本体研究的角度,回避前人依靠有限的材料,陈陈相因的解释性的研究方法,为花鸟画领域中的“写意”语言,寻找到一条相对清晰地发展线索。更多还原

【Abstract】 Flower and-bird painting is China’s important part of ink painting, while "freehand brushwork painting of creation is one of several basic language. Deliberation, originally from the source with "sketch" relative and formation, the use of the word "freehand brushwork, has referred to from the original creative attitude and creative purposes, the Chinese painting became present in the context of kind of art creation non-functional. As the "enjoyable" technique language in Chinese painting, occupies very important creation. This position in the status of literati paintings with a positive correlation relationship. The scholar’s interest is led to enjoyable style, but also the prosperity of literature history writing resulted in freehand brushwork in consolidating and ascension technique status.As the general knowledge of history, the Ming dynasty is enjoyable during the peak of the flower and bird painting, appear "QingTeng BaiYang" represented peak. Can think of is the Xu Wei spring flowers painting techniques will be pushed to a new stage, the ink skills, abundance performance ability greatly enhance extremely fast, creating object expand, these are all previous generations never had. Can say, the Ming dynasty is "enjoyable" of the emergence and development key period.But in this common sense, still exist some behind failed to resolve the problem. Such as:Xu Wei is when to begin, why, how to be as a top bird-and-flower painting; Mutual saying " QingTeng " and "BaiYang", what is the connection between, whether they really exist inheritance or influence the relations; "BaiYang" ivy leaves from the artistic style is from each inheritance; The development of freehand brushwork, namely we technique called the general since spring, whether exists to freehand brushwork in the development of a art self-discipline clues? And so on.About these problems, especially in more than one final question, predecessors or have involved, but mostly Jane and slightly, have been ignored; The slight research, sociology and inherited documents from most of the recorded with seemingly no doubt for abstract techniques inheritance looking for evidence.Facing these problems, such as techniques, I hope the learners from art ontology, namely the specific analysis of freehand brushwork language, to explore "freehand brushwork in Ming dynasty paintings. The development status of self-discipline generation Hope from the Angle of artistic language ontology research, avoid the previous rely on limited materials for the explanatory research methods, in the field of painting freehand brushwork "language, for to seek a relatively clearly development clue.更多还原