潘天寿、郭味蕖花鸟与山水相结合创作研究

【作者】 满江红；

【导师】 郭怡孮；

【作者基本信息】 中央美术学院 ， 美术学， 2014， 博士

【摘要】 花鸟与山水相结合的图式,唐代便已出现，至五代两宋进入鼎盛，因其能体现花鸟生长的自然环境，有利于展开诗意的场景描绘，一直以来受到历代山水、花鸟画家们的喜爱，历朝精品层出不穷。20世纪以来，由于西方文化的强势介入，五四时期，传统绘画也在新文化潮流的推动下，展开了一系列的改革。特别是1949年后的中国画改造运动，影响尤为重大，当时国画家们在时代潮流的席卷下，投入了中国画创新改良中。就花鸟画科创新来讲，在社会主义的新形势下，如何将传统花鸟画，转化为大众化的绘画形式，真正服务于人民大众，体现出时代社会审美的新气象,成为花鸟画家们探索的时代命题。这些画家中，潘天寿和郭味蕖的花鸟与山水相结合的创作极具代表性，二位画家把无名山花野卉置入传统花鸟与山水相结合的图式中，走出一条不同于传统花鸟与山水相结合的新路。在题材上，拓展了新的表现领域，突破了传统文人画选材上的局限；在图式和色彩上，融入了现代元素。在他们的创作中，形式、内容与他们所处的时代精神吻合。本文以“花鸟与山水相结合”图式的纵向发展的历史脉络为依据，对潘天寿和郭味蕖花鸟与山水相结合创作的发展过程进行分析研究，重点从图式、题材、笔墨、艺术思想等要素分析二者的实践路径，总结同一时代两位艺术家在这一绘画形式实践中的共性特征与艺术价值，进而揭示本文的中心论点——在20世纪中国画的发展进程中，作为具有时代价值的花鸟与山水相结合图式的创新性。更多还原

【Abstract】 Flower-bird combined landscape schema has appeared since the Tang Dynasty,and it reached its peak in the period of Five-dynasties and Two-song dynasty in theChinese history. A number of painters are fond of this schema in that it shows thenatural living conditions of birds and flowers with poetic scenes. Therefore,masterpieces created by utilizing this scheme are found throughout the history ofChinese painting. Under the influence of western culture and the New CultureMovement in China after the20thcentury, the development of traditional Chinesepainting has been undergoing a series of reforms. Particularly, many experts onChinese painting devoted to those reforms after1949. Regarding the innovation ofChinese painting, it is important to explore how to popularize this schema among thecommon public in the era when the development of socialism in China has beentaking on a new outlook.Among these famous painters, Tianshou Fan and Weiqu Duo are therepresentatives of Chinese painting reformers. Instead of drawing mainly prestigioustypes of flowers and birds, they started to incorporate unknown wild flowers and birdsinto this mainstream paining schema, which has created a new way of painting that isdifferent from the traditional way. As for subject selection, they expanded the field asthey broke the limit of subject selection within the field. Additionally, they paidattention to the common subject, which is more likely to conform to Modernism interms of schema and color. Based on a chronicle review of the history of flower-birdcombined landscape schema, this thesis analyzes the innovation created by TianshouFan and Weiqu Duo. In particular, it mainly explores the characteristics of these twopainters’ paintings from the perspectives of schema using, subject selection, ink using,and artistic spirit. It further investigates their similarities and values in the history ofChinese painting. In conclusion, this thesis demonstrates the epochal innovation of theflower-bird combined landscape schema in the development of Chinese painting inthe20thcentury.更多还原