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论写意花鸟画中的“取长补长”

On Feature-Enhancing of Impressionistic Style Flower-Bird Works

作者: 专业:美术学 导师:高卉民 年度:2010 学位:硕士  院校: 哈尔滨师范大学

Keywords

Impressionistic Style Flower-bird Works, Feature-Enhancing, direction of artistic study

        高卉民先生既是提出写意花鸟画要“取长补长”的理论者,又是这一理论成功的实践者。“取长补长”中“长”和“短”的认识如同太极中的阴阳,它既是分割的两个部分,又是统一的一个整体。“长”和“短”互相依存、互相制衡、互相作用。所谓“长”是在“短”的基础上比较而言的,它是指习画者或通过对传统艺术的研习;或对自然社会的观照;或自身性格与艺术追求等方面与众不同之处。对写意花鸟画中“取长补长”理论的研究,有助于写意花鸟画艺术的创新与风格的形成。“取长补长”最大的优势是让长处更长,就是使画家潜在的或已表现出来的长处更为突出,最终形成画家独树一帜的艺术面貌。写意花鸟画中的“取长补短”与“取长补长”有着明显的不同。“取长补短”作为艺术积淀的过程,是画家所必须经历的过程,“取长补长”则是通过对自己的充分认识、理解而确定取长的方向,不断加强自身之“长”,最终形成个人艺术风格的过程。写意花鸟画成熟期比较晚,但成就极高,虽然以往没有人提出“取长补长”这一理论,但先辈们不自觉的契合了这一理论,我试着通过一些具体的个案来论证写意花鸟画中“取长补长”的作用,我把写意花鸟画发展中的一些代表人物如徐渭、八大、吴昌硕、齐白石、潘天寿和高卉民先生的画风成因进行分析,使读者很容易看出每位画家的“己之所长”,画家们又在艺术实践中不断加强这种“长”处,最终形成自己独特的艺术面貌。“取长补长”的关键在于能否把握住“取长”的方向。“取长”向哪里取,是向内取,包涵了画家的内心感悟、艺术追求、性格因素等几个方面,一是向外取,包括向传统艺术、自然环境与社会环境等。“取向”的内外也是相互融合,会产生了不同的侧重点。本文通过我们要正确理解“取长补长”的含义,让读者明白,只有艺术修养深厚才能让艺术之路走得更远。“取长补长”理论的研究与发展前景十分广阔,它产生于对北方写意花鸟画的理解,引发的是适用于不同地域写意花鸟画的创作,拓展来看,无论花鸟画、山水画、人物画,这一理论都有研究价值。随着时代的发展,这一绘画理论将融入更多的时代精神,成为引导中国画创新的重要理论依据。
    As for the idea of "Feature-Enhancing" in Impressionistic Style Flower-bird Works, Professor Gao Huimin is a man of theory as well as of practice. "Feature-Enhancing" can be understood through the comparison to yin and yang in Tai Chi. Yin and yang connote two opposite aspects, i.e. Merits and Demerits, which totally differ from each other while form a unified whole at the same time. "Merits" and "Demerits" are of inter-dependency, inter-balance and inter-action.The so-called "Demerits" should be interpreted in comparison with "Merits" and Demerits, and it concerns a painter’s distinguishable features through his research in traditional art, his observation on society, his personality and his aspiration. The study of "Feature-Enhancing" theory is beneficial to the formation of innovative style in Impressionistic Style Flower-bird Works. The strongest point in "Feature-Enhancing" theory lies in its success in feature-perfection, in revealing the painter’s potential and in highlighting the merits, which ultimately leads to the uniqueness in style. "Feature-Enhancing" and "Weakness-offsetting" (to learn from others to offset one’s own weakness) vary greatly. "Weakness-offsetting" is a process of art accumulation, which is a necessity to a painter. "Feature-Enhancing" will be of help to the final formation of personal style by means of accurate self-realization, continuous improvement and proper settling in direction of study.Impressionistic Style Flower-bird Works still remains its freshness, yet it had reached the first peak of achievement. "Feature-Enhancing" actually has been implemented by the ancestors coincidentally before it is named. This paper aims at discussing the function of "Feature-Enhancing" in Impressionistic Style Flower-bird Works by use of some cases, at analyzing the causes for the formation of the style in paintings of Xu Wei, Zhu Da, Wu Changshuo, Qi Baishi, Pan Tianshou and Gao Huimin, and at illustrating the "features" in theirs paintings, at how they enhance the features and how the set up their own artistic style.The key of "Feature-Enhancing" is the correct sources for artistic study. The sources involve two kinds:one is internal source, including the painter’s inspiration, aspiration and disposition; the other is external source, including traditional art, natural and social surroundings. The joining of internal source and external one results in different emphasis. This paper is to show readers the correct understanding of "Feature-Enhancing" and the further exploration in art’s mystery will be likely on the basis of profound artistic refinement. There must be a prospect in the study of "Feature-Enhancing" theory since it originates from the understanding of Impressionistic Style Flower-bird Works in North China. It has stirred up creations applying to various regions. To a larger extend, the theory has a broad future of study in the perspective of Flower-bird Works, Landscape, and Figure Drawing. As time goes by, the theory will be injected with spirits of the era and will become an influential theoretical ground in Chinese Painting innovation.
        

论写意花鸟画中的“取长补长”

摘要6-7
Abstract7-8
第一章 绪论9-15
第二章 写意花鸟画中"取长补长"提出的意义15-17
    一、何谓写意花鸟画中的"长与短"15
    二、何谓写意花鸟画中的"取长补长"15-16
    三"取长补短"与"取长补长"的不同之处16-17
第三章 写意花鸟画中"取长补长"的取向17-32
    一、取向的内外是建立在主观意识之上17
    二、外部环境对主观取向的作用17-22
        (一) 在外部作用下徐渭的艺术取向17-20
        (二) 在外部作用下八大山人的艺术取向20-22
    三、取向的内外相融22
    四、"取长补长"的基础与取向的关系22-32
        (一) 吴昌硕写意花鸟画中"取长补长"的基础与取向22-25
        (二) 齐白石先生写意花鸟画中"取长补长"的基础与取向25-28
        (三) 潘天寿先生写意花鸟画中"取长补长"的基础与取向28-32
第四章 高卉民先生用实践印证了写意花鸟画中的"取长补长"32-38
    一、高卉民先生"取长补长"的基础32-33
    二、高卉民先生艺术的飞跃期33
    三、"取长补长"理论产生于北方写意花鸟画的创作过程中33-38
第五章 正确理解写意花鸟画中的"取长补长"38-40
结论40-42
参考文献42-44
攻读硕士学位期间所发表的学术论文44-46
致谢46
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