任伯年花鸟画色彩研究

【作者】 叶芃；

【导师】 罗世平； 郭怡孮；

【作者基本信息】 中央美术学院 ， 中国绘画， 2014， 博士

【摘要】 1840年至1949年的一百多年间，是中国从农耕社会向工业社会的现代化转型期，也是中国文化从传统走向现代的重要阶段。各种技法融汇贯通的前海派写意花鸟画和重彩大写意金石绘画的崛起，以及中西合璧彩墨画的出现，使写意花鸟画的色彩表现在“扬州画派”的基础上进一步深化，获得了新的突破。作为前海派绘画集大成者，任伯年是近现代花鸟画现代化转型的标志性人物。他在坚持文人画价值观的前提下，以色彩造境，吸收审美风尚中的色彩元素。通过结合明清文人画色彩、民间美术色彩和西方绘画色彩元素，使中国花鸟画的色彩表现逐渐实现了多种艺术元素的有机融合，深含人文情怀和时代精神，确立了近现代花鸟画色彩表现的新模式。其影响深远，并最终形成“海派”前期清新明丽、放达飘逸的色彩风格。任伯年色彩表现模式经由徐悲鸿推崇后对学院派画家色彩表现产生重大影响。论文讨论了任伯年花鸟画色彩表现的转变过程，分析其色彩表现元素的源流，考察其人生不同阶段在面对社会审美风尚转变时如何实现个人审美价值观的体现，保持雅俗共赏的艺术品质。以此为鉴，分析当下如何在商业发展的境况下，顺应时代潮流，坚持传统绘画的价值核心，创新属于自己的艺术表现语言。论文的基本内容：第一、在中国画现代化转型的整体框架下，分析任伯年色彩表现模式的产生的时代背景和技术支撑，分析近现代花鸟画色彩表现在任伯年时期取得突破的原因。第二、通过分析任伯年色彩表现技法的形成过程，了解任伯年的师承关系和社会关系，揭示其周边的文化背景，分析任伯年的文人画情结是贯穿其艺术生涯的精神核心。第三、通过分析任伯年作品所体现的色彩表现模式的色彩元素来源，揭示任伯年色彩表现模式的基本框架和工作原理：以文人画审美理想为价值核心，统一协调民间美术和西方绘画色彩元素，达到画面色彩“雅俗共赏”的艺术品质。第四、分析在商业社会审美风尚中，任伯年的色彩表现模式对如何顺应时代，坚持自我价值观，获得“雅俗共赏”的艺术品质。第五、分析任伯年色彩表现与学院派花鸟画的关系，并以任伯年的色彩表现模式去分析近现代花鸟画的分流。第六、当代中国花鸟画依然可以延续和完善近代画家对于花鸟画的拓展成果，坚持传统文化的革新和传承，发展出适合中国国情的艺术道路。更多还原

【Abstract】 From1840to1949, it was a modernization transformation period of Chinesetraditional agriculture and cultures. In this hundred years, Shanghai school of Chinesepainting rose the traditional Chinese realistic painting with freehand brushwork, theepigaphic painting and the combination of Chinese and Western ink coloured paintingtypes, which has made a great deep progress and a new level on freehand brush workof flower and bird paintingAs a former master of pre-Shanghai School of painting, Ren Bonian was thetipical person on the modern transformation of the bird and flower painting. He kepton literati painting style which was known for the color creation, and absorbed thenew color elements in modern types. By combining the color of the Ming and Qingliterati paintings, folk art colors in traditional Chinese paintings and the modern colorelements in Western paintings, he achieved a multiple mixture of various art elements,which reflected his humanistic concern and the spirit of the age, and was established anew color mode in modern bird and flower paintings. This new color mode hadinfluenced profoundly, and was formed a fresh and elegant color style in early periodof Shanghai school. Moreover, on Xu Beihong’s effort and support, the academicpainters was affected by the new color repersention type deeply which was innovatedby Ren Bonian. This article disscusses the process of traditional Chinese bird andflower painting reformation by Ren Bonian, analyzes the origion and development ofthe modern color type of it, and examines Ren Bonian’s severl steps on color reformin Chinese painting by facing the changes in modern aesthetic taste, but stillmaintained his artistic quality. As a typical example of color reformation, we can findout the importance of maintaining the value of traditional Chinese painting whileadapt new representions to this more and more commercial and fast-changing world.This article disscusses the reform process of traditional Chinese bird and flowerpainting by the famous artist Ren Bonian with six parts as following:The first chapter analyzes the modern times and technical background of RenBonian’s color reformation of Chinese painting, and it reveals the great influence from foreign urbanization and commercialization culture to Chinese traditional paintingunder the circumstance of Chinese painting modernization transformation.By focusing on the way of Ren Bonian’s color reformation, second chapteranalyses Ren Bonian’s severl steps on color reform in Chinese painting, comprehendsthe relationship with his several teachers and friends, studies his culture background,and concludes that Ren Bonian’s complex of literati paintings is the main core in hiswhole artistic career.The third chapter is about tracing to the origins of Ren Bonian’s color system,which tells the way of Chinese painting modernization transformation by Ren Bonian.As maintaining the central position of literati aesthetic taste, it mixed folk and westernarts elements, which make the new color type appeal to both the more and the lesscultured.Fourth part discusses how did Ren Bonian persisted the aesthetic taste in amutable commercial community, which also provided us an example of color paintingrevolution in this more modernized world.The fifth part analyses the affect on academic Chinese bird and flower paintingsby Ren Bonian’s new color painting style, and researchs the reason why the academicpainters retain the traditional way of color painting is the background of Chineseculture.Last but not least, the chapter reconfirms that Chinese bird and flower painting inmodern society can be a continuous, improvement and perfection of traditionalpainting system. By the way of continous and reformation, Chinese bird and flowercolor represention could establish a new form which adapts the Chinese nationalcondition.更多还原