论文标题:吴昌硕引书入画之研究
A Cognitive Approach to the Semantics of English Prepositions
论文作者 邵仲武
论文导师 徐正,论文学位 硕士,论文专业 艺术学
论文单位 曲阜师范大学,点击次数 648,论文页数 50页File Size7665k
2005-04-01论文网 http://www.lw23.com/lunwen_816812/ 引书入画;篆籀;石鼓文;蜾扁精神
drawing calligraphy into painting; seal; Shigu calligraphy; Guobian Spirits ( Guobian, a kind of bee, is figuratively used as seal; its spirits refer to the smooth calligraphy with the thickness and thinness in proportion, and with the combination of strength with gentleness.)
吴昌硕是中国近代画坛有开创性业绩的、承前启后的一位艺术大师,是诗书画印融会贯通于一身的近代文人画巨匠,他的“引书入画”的艺术实践,完成了从传统内部破解中国画现代发展的难题,在今天仍有着重要的现实意义。 本文以吴昌硕“引书入画”为主要线索,着意梳理出书法篆刻对吴昌硕绘画成因的重要作用。吴昌硕的“引书入画”,无论是理论建构还是实践操作,其主动性指向是明确的,书法对吴昌硕来说,有着独特的实际意义,是其笔墨和画法的“活水源头”。吴昌硕对书法之于文人写意绘画的基础性强调和实践操作,几乎伴随其一生。没有人象吴昌硕那样,积极主动的将书法原理用于绘画,并取得如此高的艺术成就。可以说,吴昌硕的绘画是建立在书法基础之上的楼阁,它的稳固和高度关乎书法。 研究吴昌硕的理论文字已有不少,研究成果也斐然可观,但以往的研究者大多就画论画,或就书论书,书法和绘画结合论者也有,但大多不深入、不系统,是很难全面认识吴昌硕的艺术成就成因的。 笔者认为,吴昌硕的绘画成因与其书法有着不可分割的联系,其绘画艺术,无论在技术层面和理论层面,都可落实在书法“支柱”上,书法是支撑其绘画艺术大厦的内在因素。本文想通过对吴昌硕“引书入画”的艺术实践,通过对其书画关系的研究,寻绎出吴昌硕书法与绘画的有机联系,及书法在其绘画中所起的作用,以期对其绘画成因有一个较深入的了解。
Wu Changshuo, a contemporary artistic master, has made an unprecedented achievement and played a transitional role in China"s contemporary arts field. He is a scholar painting giant who combines the poetry, calligraphy, paintings and seals together. His artistic practice of " drawing calligraphy into painting", which resolves the problems of searching for the modern development of traditional Chinese painting from the traditions itself, is still contributing a great significance to today"s traditional Chinese paintings.The dissertation focuses on the remarkable importance how the penmanship of Wu Changshuo effects on his painting, according to the "drawing calligraphy into painting" principle. The active direction of the principle is quite definite whether in theory or I practice. To Wu, the calligraphy, the living sources of his penmanship and painting skills, has its unique and practical meaning. Wu"s opinion that calligraphy is the base and practice for the freehand brushwork of the scholars" accompanies him for most of his life time. Nobody except him can actively put the calligraphy principle into the practice of paintings and win such great realistic effects. We may say Wu"s painting is a castle built on the case of the calligraphy, and its stability and level is connected with the calligraphy.There are a lots of studies on Wu"s theory, and the results are impressing. But most of the previous researchers analyze his paintings with regard only to the paintings. And it is the same case to the studies of his calligraphy. There are the researchers who make the researches with the combination of calligraphy and paintings. But most of the researches are shallow and unsystematically, which make it hard to recognize Wu"s artistic achievement comprehensively. I think there is a close connection between Wu"s paintings and his calligraphy. Not only on the side of skills but also on the side of theory, Wu"s painting can be traced back to the pillar—the calligraphy, which is the intrinsic factors nourishing the painting practices.By the studies of Wu"s "drawing calligraphy into painting" practice and by the studies of the relationships between his calligraphy and paintings, this paper aims to seek the close connections between Wu"s calligraphy and his painting and the functions of the calligraphy in his paintings.
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