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元代是我国绘画史上重要的艺术转变时期,在花鸟画上表现尤其如此。本文通过对王渊《桃竹锦雉图》的绘画语言进行研究,通过个案分析解读元代花鸟画绘画语言的转变。通过构图、画法等多元多角度具体论证,分析《桃竹锦雉图》在画法上突破了传统勾染体系,综合了勾、皴、擦、染、点、写、积墨等方法,这些画法的综合使用是王渊花鸟画的风格特点,也是元代绘画的一个重要现象。这些画法对后代产生了重大的影响,同时绘画语言的转变和表现方式的多元也是元代花鸟画的重要特点。
Yuan Dynasty is an important period of artistic change in the history of Chinese painting, especially on flowers and birds paintings. This paper studies the painting language of Wang Yuan’s “Tao-jin-jin pheasant” and analyzes the change of painting language of the bird-and-flower painting in the Yuan Dynasty through case analysis. By means of multi-angle and multi-perspectives such as composition and painting, this paper analyzes the traditional painting system of “Peach-and-Bamboo Pheasant Pheasant”, combining the methods of hooking, removing, wiping, dyeing, The combined use of these paintings is the style and features of Wang Yuan’s paintings of birds and flowers, and is also an important phenomenon in Yuan Dynasty paintings. These paintings have had a significant impact on future generations. At the same time, the transformation of painting language and the diversity of modes of expression are also important features of flower and bird paintings in the Yuan Dynasty.