兩宋院體花鳥(niǎo)畫(huà)論文：從兩宋院體花鳥(niǎo)畫(huà)看現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)的裝飾性

1、兩宋院體花鳥(niǎo)畫(huà)論文：從兩宋院體花鳥(niǎo)畫(huà)看現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)的 裝飾性【中文摘要】在中國(guó)畫(huà)中，工筆花鳥(niǎo)畫(huà)是中國(guó)傳統(tǒng)繪畫(huà)體系中的 表現(xiàn)形式之一。中國(guó)繪畫(huà)史表明，大多數(shù)工筆花鳥(niǎo)畫(huà)都是選取形色俱 佳、姿態(tài)優(yōu)美、富有特征的動(dòng)物和植物入畫(huà)，在表現(xiàn)形式上以線為主 要造型手段，以色輔之，并形成一定的繪制程序，以“寫(xiě)真”為，用筆的 細(xì)致精謹(jǐn)?shù)脑煨汀⒈普娴纳駪B(tài)大都具有裝飾情趣。然而，面對(duì)當(dāng)代社 會(huì)生活的豐富性，面對(duì)當(dāng)代人的審美情趣的多元化，面對(duì)西方文化的 沖擊和現(xiàn)代社會(huì)文化環(huán)境與審美觀念的影響，現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)在繼 承傳統(tǒng)工筆花鳥(niǎo)畫(huà)的技法表現(xiàn)、美感形式、視覺(jué)傳達(dá)與意境的基礎(chǔ)上 進(jìn)行的拓展顯露出當(dāng)下的文化語(yǔ)境和時(shí)代特征

2、，現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)裝 飾性趣味的表現(xiàn)正是在這種情形下得到拓展。 本文通過(guò)對(duì)兩宋院體花 鳥(niǎo)畫(huà)和現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)造型語(yǔ)言的裝飾性的分析與比較，研究現(xiàn)當(dāng) 代工筆花鳥(niǎo)畫(huà)在發(fā)展的過(guò)程中與工筆花鳥(niǎo)畫(huà)的傳統(tǒng)之間產(chǎn)生的的矛 盾。現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)面臨繼承傳統(tǒng)與當(dāng)下文化環(huán)境的矛盾，中國(guó)畫(huà) 藝術(shù)本質(zhì)的保持傳統(tǒng)與拓展創(chuàng)新的矛盾。 保持傳統(tǒng)就很難創(chuàng)作出有當(dāng) 下文化審美情趣的作品，拓展創(chuàng)新又很難在當(dāng)代文化環(huán)境下保持中國(guó) 畫(huà)本質(zhì)。在具有裝飾意味的現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)中，尤其是當(dāng)代工筆花 鳥(niǎo)畫(huà),其現(xiàn)實(shí)的色彩、時(shí)空結(jié)構(gòu)雖然被扭曲了，但作品中的情調(diào)、意趣 都是統(tǒng)一的，它們又組成了另一種結(jié)構(gòu)，使畫(huà)面展示出更廣闊的可見(jiàn) 與不可見(jiàn)的審美圖

3、景，更加豐富了工筆花鳥(niǎo)畫(huà)的繪畫(huà)語(yǔ)言。但是當(dāng)下 社會(huì)文化與傳統(tǒng)文化產(chǎn)生的矛盾對(duì)現(xiàn)當(dāng)代工筆花鳥(niǎo)畫(huà)發(fā)展的影響，值 得我們重新審視、思考。在這種境況下我們應(yīng)該正確面對(duì)矛盾，冷靜 思考?！居⑽恼縄n Chinese painting, meticulous flower is the system oftraditional Chinese painting one of the mani festati ons. Painting Historyshows that most meticulous flower form, color and taste are selected,graceful

4、, rich features of animals and plants art, in the form of expressionin line as the main meansof modeling, Israel supplemented, and theformation of a certain drawing program to “write ” for the purpose of thedetailed fine pen like shape, most realistic mannerwith decorative appeal.However, faced with

5、 the richness of con temporary social life, in the faceof con temporary people s aesthetic taste of the diverse face of theimpact of Western culture and modern social and cultural environmentandaesthetic concepts, the traditional flower of meticulous draw ing tech nique, aesthetic form, create a moo

6、d of visual com muni cati on and revealevery mome nt of the cultural con text and characteristics of the times,moder n and con temporary decorative flower meticulous performa nee isin teresti ng in this case be expanded. Based on the academySong birdand flowerMeticulous con temporary decorative styl

7、e of Ian guage an alysis andcomparis on of bird in the developme nt of moder n andcon temporary fine brushwork and meticulous process betwee n the traditional flower of the con flict. Con temporary fine brushwork bird facing thetradition and contradictions in con temporary culturalen vir onment, tom

8、ai ntai n the esse nee ofChin ese pain ti ng traditi on and inno vati on to expa nd the con flict. It isdifficult to main tai n traditi onal culture to create a con temporaryaesthetic works hard to develop inno vative and con temporary cultural envir onment to mai nta in the esse nee of Chin ese pai

9、n ti ng. In adecorative meansof moder n and con temporary fine brushwork bird,especially con temporary fine brushwork bird, its real color, although thespace-time structure was distorted, but works in the atmosphere, charmare uni fied, they are ano ther form structure, so that the scree n show abroader aesthetic visible and the inv isible picture, more enrichedmeticulous flower painting Ianguage. But whenthe social and culturalconflicts that arise with the traditional culture of con temporary finebrushwork of flower devel