【作者】 王晓丽；

【导师】 杜滋龄；

【作者基本信息】 中国艺术研究院 ， 美术学， 2011， 硕士

【摘要】 陈洪绶(1599—1652)是晚明杰出的画家,其在人物画方面取得了极高成就。本文从陈氏的人物画、花鸟画和版画中的器物分类研究,继而探讨其画中器物与画家本人的关系,与其绘画间的关系,与晚明社会生活的关系。器物是明清文人的精神载体,通过器物及其所展现出的微小细节,呈现并还原出陈氏孤洁之品格,古雅的意趣,广博的精神境界,及经由器物传承的我国古代文化传统。最终探求出陈洪绶在运用器物烘托画中人物,营造意境方面的建树。本论文的创新点体现在三个方面：1、从研究陈洪绶绘画中的器物着眼,探究其画中器物被画家赋予崇高的人格化特征,并已形成独特的艺术面貌,具有独立欣赏的艺术价值。其意义在于：陈氏不仅借用器物有力地塑造出感人至深的人物形象,并借器物自身携带的丰富的文化信息及深厚的历史内涵,“在‘情景交融’基础上达成‘境生于象外’后,最终达到画家人格力量与宇宙生命之‘道’的多层结合。”2、以实物来对照并分析陈洪绶的绘画,追溯和梳理了陈洪绶绘画中器物的渊源,并阐释其涵义。最终探究了陈洪绶在运用器物表现绘画内涵方面所进行的探索。3、明确了陈氏籍由器物在其绘画中创造历史情境,体现出具有晚明时代特点的带有江南地域文化的新的古典美的艺术形式。更多还原

【Abstract】 Chen Hongshou (1599—1652) is an outstanding painter in the Late Qing Dynasty with significant accomplishments in figure paintings. This essay is to categorize and study utensils showing on Chen’s figure, flower-and-bird and engraving paintings, so as to explore the relationships between utensils showing on the paintings and the painter himself & his painting style. A study on relationships between utensils and social life in the Late Qing Dynasty will also be included. Utensils served as a spirit carrier of the intellectuals in Ming and Qing dynasties. With the study of utensils and their tiny details, the essay will demonstrate Chen’s solitary and noble character, classic and elegant taste, as well as great mind state, presenting our fine art tradition in Chinese ancient times passed on by utensils. Finally, Chen Hongshou’s achievements in portraying images and creating artistic prospect through using utensils will be summarized.The innovation of the essay is reflected in 3 aspects:1) By studying utensils in Chen’s paintings to explore the fact that the utensils have endowed with noble personification characteristics and developed a unique artistic feature, reflecting independent artistic value for appreciation. Its significance lies in:Chen not only borrowed utensils to vividly shape these touching characters, but also carried their own cultural and historic connotation. From the level of "the scenery depicted and the emotions expressed in perfect harmony", he moved on to the next stage where "feelings originate from paintings, yet much higher than paintings". Finally, he successfully reached the multi-layer combination of painter’s moral integrity and "Tao" of universal life laws.2) This essay is to compare and analyze Chen Hongshou’s paintings by real objects and to trace and sort the origins and meanings of these utensils in his paintings. Eventually an exploration of Chen Hongshou’s skills in using utensils to deliver paintings’meanings will be made.3) This essay will clearly indicate that Chen had created historic circumstance in his works with utensils and demonstrated a form of art with classic beauty and the feature of Jiangnan regional culture in the Late Qing Dynasty.更多还原