- 上一篇：拼贴技法在动画中的使用
- 下一篇：黑白木刻创作语言中有关刀法组织的探索
摘要恽寿平的花鸟画在清代画坛影响深远，他所处的时代民族矛盾十分尖锐，恽寿平早年参加过抗清义军，清军使其家破人亡，他还当过俘虏，后又被浙闽总督收为义子，总督去世后留灵隐寺为僧，最终返乡卖画为生。他的一生充满传奇色彩，这也是他从艺的根。一般人谈到写生想到是对景作画，实际上写生是一种对生活和周边事物的体悟，进而转化为艺术语言的过程。本文主要从恽寿平没骨花鸟画的写生之法和文人趣两方面谈起，先综述恽寿平的生平及成就，其次从三点来谈他写生之法，包括人生经历中生成的艺术养分；从身边的花草中汲取绘画的素材；以及对现当代的启示和影响，最后谈作品思想的文人趣，及我对写生创作的思考。49186
毕业论文关键词：恽寿平；写生之法；文人趣；“逸格”
Analysis of Yun Shouping flower and bird painting painting method
Abstract Yun Shouping painting in the Qing Dynasty painting produced a huge impact, he lives in ethnic conflicts extremely sharp era, Yun Ping early to participate in anti-government rebel Qing, the breakup of. He also worked as a captive, and was governor of Zhejiang and Fujian accept for Yizi, the governor died in the temple as a monk, eventually return to sell the painting for a living. His life is full of legends, which is the root of his painting art. When it comes to sketching and painting, it is a kind of life, perception of the surrounding things, and then into the process of artistic language. This paper mainly from two aspects of Yun Shouping Mogu painting of flowers and birds painting, and literati talk, first for his life and accomplishments of review. Secondly, painting method from three to talk about his painting, including life experiences generated in the art of nutrients; learn from around the flowers painting material; and of inspiration and influence the contemporary, finally talk about the thinking of the works of literary taste. And I on the painting creation thinking.
Key words: Yun Shouping; sketching; literati's interest; "Yige"
目录
摘要---1
Abstract-Ⅱ
目录--Ⅲ
一、 生平成就综述 ---1
二、 恽寿平花鸟画写生之法2
（一）人生经历 艺术养分 -2
（二）环境熏陶 对景写生 -2
（三）启示当代 影响深远 -3
三、 文人趣---4
（一）“逸格”雅致的审美内涵---4
（二）文人绘画的传承---4
我的创作感想--5
参考文献---6
引 言
一、生平成就综述
恽寿平,初名格,字惟大,改字正叔,后字寿平,号南田,别号东园衣、白云外史等,生于明崇祯六年(1633)。江苏武进（今常州）人。恽寿平生而敏慧,“父逊庵授之书,上口即能解义,八岁咏莲花成句,惊其塾师”。【1】他是明末清初著名的书画家，常州画派的开山鼻祖，开创了没骨花卉画法。年少随伯父学画，后又参加过抗清义军，家破人亡，当过俘虏，曾在灵隐寺为僧，后以卖画为生。其山水画成就颇高，以情趣、神韵取胜，与当时的王世敏、王鉴、王翚、王原祁、吴历合称为“清初六大家”。他取法元代王蒙、黄公望、倪瓒，深得淡雅幽隽之致，并上溯董源、巨然。他从明代沈周、孙隆等人的作品中吸取丰厚的创作经验，创造“仿北宋徐崇嗣”的没骨花卉画法。以潇洒秀逸的用笔直接点蘸颜色敷染成画是其最大的特点，注重形似但又不以形似为满足，文人画的情调和韵很浓。南田有诗、书、画三绝，他的诗被誉为“毗陵六逸之冠”，其书法主要学习褚遂良，被称为“恽体”。又以没骨画花卉、禽兽、草虫，自言师承徐崇嗣没骨花画法。他的绘画思想见解之高妙，语言之隽永，罕有与之媲美者，南田话跋集合了他一生的绘画理论。邹一桂对恽寿平的艺术成就作了综评:“国初恽寿平全用没骨法,而运以生机,曲尽之妙,所题诗句极清艳,书法得河南三昧,空前绝后。”沈德潜评其诗为“南田工画山水,花卉兼擅,比之天仙化人,诗亦超逸, 毗陵六逸,以南田为上。”他创作态度严谨，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成一代宗匠，对明末清初得到花卉画有“起衰之功”，被尊为“写生正派”。【2】同时他对徐崇嗣的没骨花卉画法进行变革，对后世花鸟画创作和花鸟画理论均产生深远影响，近代以来，居巢、任伯年、吴昌硕、刘海粟等人都对其作品欣赏有加，同时对当代画家的影响犹在并持续下去。