【作者】 姚瑞江；

【导师】 高卉民；

【作者基本信息】 哈尔滨师范大学 ， 美术学， 2019， 博士

【摘要】 本文是对中国花鸟画创作中个人旨趣与社会意识互动的系统研究。选题的缘由是鉴于当代花鸟画家们过于关注私人情绪情感、跟风式的进行艺术试验而罔顾更为宽广的大时代、大变革以及更普遍的人民群众的审美趣味,使得艺术社会功能大大减弱的现状。从开始接触到创作成熟的北方大写意花鸟画,我深深地体会到其背后意义的重大,这不仅是一种地方性的知识生产,更是一条近乎文人意识和群众路线完美结合的路径,具有较强的问题意识和时代感。这种对写意花鸟艺术的探索不仅极大地拓展了传统花鸟画表现的内容和空间,更将黑土文化中顽强、坚韧、不屈的生命状态、精神内涵通过绘画传递出来。从理论到成功实践,我决定用个人旨趣与社会意识互动的视角来重新审视我国花鸟画在漫长发展过程中好的经验,包括某些关键理论产生的社会语境,尝试着把握未来花鸟画发展的道路和走向,揭示中国花鸟画与生俱来的社会功能,以及艺术个性与社会历史、封建皇权、文化消费等之间的复杂纠缠。本文以文人花鸟画与社会(社会的、民间的、市民的)的互动联结以及文人在互动中自发进行的画风改变为研究对象,并着重在写意花鸟传统迁延中展现这一互动关系的发生发展。在研究方法方面,尝试着将社会学、历史学、文化研究等领域的理论以及研究思路切入到花鸟画发展史的重要时刻,兼顾图像分析等传统艺术鉴赏的方法。本人已发表多篇相关主题论文,并阅读了许多相关学术著作和研究文章。根据研究,花鸟画一直承担着重要的社会功能,包括一定的认知、教育和娱乐功能。历史中,文人们曾垄断花鸟画的创作欣赏的全过程,只传递文人群体的价值观念,将文人画与民间画拉开距离,文人花鸟画成为了文人集团精英文化的特供产品。随着商品经济发展、市民文化兴起,尤其是近现代以来,花鸟画日渐成为日常生活的诗意化表达的载体,而新中国成立后,文艺大众化运动使花鸟画极大地贴近了大众需求和新的人民价值观念。在个体与社会的互动关联中,文人花鸟画家为花鸟画增添了更多高层次、高水平的审美趣味。在社会变动中,在市民阶层的影响和民族国家观念的带动下,文人花鸟画摒弃了自己的孤芳自赏,在更广阔的、更实在的天地中大施拳脚,获得了升华和蜕变。文本以文人花鸟画为切入点,以黄家富贵和徐熙野逸两大花鸟画流派为研究的出发点,以文人意识与大众趣味的互动、文人花鸟画在历史上不同时期的发展流变为基本研究框架。文章分为五个部分。绪论主要是明确了选题的缘起,研究的目的和意义,对国内外相关研究进行综述,并最终确定文章的研究方法和理路。第二章主要阐述五代之前花鸟画的产生和流变,明晰花鸟画的基本特征以及花鸟画中生命最本真的自然情意的肆意流淌。第三章主要论述皇家宫廷画院的花鸟画风格与文人风格的花鸟画在历史流变中的互取所长和分道扬镳。第四章主要追溯文人花鸟画在北宋萌生,在颇具转折意味的元代成熟发展,在徐渭、朱耷笔下达到顶峰的发展轨迹,分析画家命运在时代变革中的沉浮及其自我抗争。第五章主要截取了吴门画派、扬州八怪、海上画派三个重要的时间节点,阐发在特定的历史时期画家们投入市场,投入社会变革大潮过程中对绘画风格做出的转变。第六章主要以新中国成立对画家的改造为引题,指出从民间走出来的花鸟画大师齐白石对日常生活所做的诗意化处理,对花鸟画变革所产生的巨大意义。同时,结合大众的崛起、全球化的背景对传统花鸟画的现代转化、现代花鸟画社会视野的拓展提出自己一些可能的设想和建议。本文始终关注花鸟画家在不同历史时段的命运遭际、审美意识的形成与转变、与社会意识的互动关联,并旨在全面概括总结反思传统花鸟画创作理论和实践的价值和局限,对当代花鸟画理论的建构提供启示和参考,对画家今后的艺术创作给予借鉴。更多还原

【Abstract】 Chinese flower and bird paintings are widely loved because of their wide range of subjects,vivid shapes and strong decorative features.In the history,there were different groups of court painters,folk artists,scholars and literati to create different styles of flower and bird paintings,but literati flower and bird paintings undoubtedly occupied the mainstream.Whether it was meticulous or freehand,literati always actively in their own creations.It conveys the aesthetic taste of individuals or entire literati groups,but they also demonstrate the interaction between literati and popular interest in their paintings.This article takes the interaction between literati flower and bird painting and society(social,folk,citizen)and the style of literati spontaneously in the interaction,and focuses on the development of this interactive relationship in the traditional extension of freehand flowers and birds..This paper believes that flower and bird painting has always played an important social function,including certain cognitive,educational and entertainment functions.In history,the literati once monopolized the whole process of the creation and appreciation of flower and bird paintings,and tried to distance them from folk paintings.The literati flower and bird painting became a special product of the elite culture of the literati group.In the subsequent interaction between the individual and the society,the literati flower and bird painter added more high-level and high-level aesthetic tastes to the flower and bird painting.In the social changes,driven by the influence of the citizen class and the concept of the nation-state,the literati flower and bird paintings abandoned their own solitude and self-respect,and made great efforts in the broader and more realistic world,and gained sublimation and transformation.This article is divided into five parts.The introduction mainly clarifies the origin of the topic,the purpose and significance of the research,summarizes the research on flower and bird painting at home and abroad,and finally clarifies the research methods and rationale of literature.The text takes the literati flower and bird painting as the starting point,and takes the genre of Huang Quan Rich and Xu Xi wild as the starting point of the study.The interaction between the literati consciousness and the popularinterest,the evolution of the literati flower and bird painting in different periods in history becomes the basic Research Framework.The first chapter mainly elaborates on the generation and evolution of flower and bird paintings before the Five Dynasties,clarifies the basic characteristics of flower and bird paintings,and the free flow of the painter’s natural affection in life.The second chapter takes the long-distance and parting ways of the flower and bird painting style of the Royal Court Painting Academy and the literati-style flower and bird painting in the historical change.The fourth chapter mainly traces the literati’s flower and bird paintings in the Northern Song Dynasty.It matured in the Yuan Dynasty,and reached the peak development track in Xu Wei and Zhu Da’s works.It analyzed the ups and downs of the painter’s destiny in the era of change and its self-resistance.The fourth chapter mainly intercepts the three important time nodes of Wumen School,Yangzhou Eight Monsters and Maritime School.It analyzes the changes in the style of painting that the painters put into the market in the specific historical period and invested in the tide of social transformation.The fifth chapter is mainly based on the transformation of the painter in the founding of New China.It points out the great significance of the change of flower and bird painting in the process of poetic treatment of the daily life of Qi Baishi,a master of flowers and birds.Combined with the rise of the masses and the background of globalization,the author puts forward some possible ideas and suggestions for the modern transformation of traditional flower and bird paintings and the acquisition of modern flowers and birds.更多还原