感時(shí)花濺淚恨別鳥(niǎo)驚心——“比”、“興”手法在中國(guó)花鳥(niǎo)畫(huà)中的運(yùn)用

1、感時(shí)花濺淚 恨別鳥(niǎo)驚心--- ---“比” 、 “興”手法在中國(guó)花鳥(niǎo)畫(huà)中的運(yùn)用 I 論文題目： 論文題目：感時(shí)花濺淚 恨別鳥(niǎo)驚心 ---- ----“比” 、 “興”手法在中國(guó)花鳥(niǎo)畫(huà)中的運(yùn)用 專(zhuān) 業(yè)：美術(shù)學(xué) 碩 士 生： 指導(dǎo)教師： 摘 要 “比”、“興”是“借物抒情，托物言志”的一種文學(xué)表現(xiàn)手法,經(jīng)常應(yīng)用在中國(guó)古典文學(xué)尤其是詩(shī)詞歌賦中，同時(shí)它也是中國(guó)傳統(tǒng)繪畫(huà)尤其是花鳥(niǎo)畫(huà)的重要美學(xué)思想之一?！氨取薄ⅰ芭d”手法在詩(shī)詞歌賦中的運(yùn)

2、用，為我們創(chuàng)造出許多燦爛輝煌、藝術(shù)魅力經(jīng)久不衰的文學(xué)作品，比”、“興”手法在中國(guó)花鳥(niǎo)畫(huà)中的運(yùn)用，能使畫(huà)家的情感和客觀物象相融合、使畫(huà)家自身的獨(dú)特感受通過(guò)所畫(huà)之物得以充分的表露和體現(xiàn)，由此可以說(shuō),“比”、“興”手法是中國(guó)花鳥(niǎo)畫(huà)的表現(xiàn)手法之一。在花鳥(niǎo)畫(huà)創(chuàng)作中，物必見(jiàn)我之情，我之情須借物來(lái)抒發(fā)，一切客觀物象只是花鳥(niǎo)畫(huà)藝術(shù)創(chuàng)作的媒介?；B(niǎo)畫(huà)家在生活中選擇藝術(shù)形象的過(guò)程實(shí)際就是“比”的過(guò)程， 而畫(huà)家通過(guò)畫(huà)面表達(dá)出一種與客觀物象相聯(lián)系但又超越該物象

3、的思想情感，也就是所謂的“寄情于物”，這就是“興”。因此可以說(shuō)花鳥(niǎo)畫(huà)創(chuàng)作絕對(duì)不是自然主義的照抄照搬物象，而是“托物言志、借物抒情”，這正是中國(guó)花鳥(niǎo)畫(huà)提倡“一花一世界、一葉一如來(lái)”的美學(xué)思想和哲學(xué)本源，也正是花鳥(niǎo)畫(huà)創(chuàng)作中“物我交融、天人合一”境界之體現(xiàn)。 本文分四個(gè)章節(jié)來(lái)論述，第一章首先從文學(xué)角度對(duì)“比”、“興”手法進(jìn)行解釋?zhuān)诙轮攸c(diǎn)深入地論述了中國(guó)花鳥(niǎo)畫(huà)作品中“比”、“興”手法的運(yùn)用及其作用，并列舉一些花鳥(niǎo)畫(huà)家及其作品進(jìn)行刨析，得出這

4、樣一個(gè)結(jié)論:“比”、“興”手法在花鳥(niǎo)畫(huà)中的運(yùn)用，不但能使畫(huà)家更好的達(dá)到人性與物性的合二為一、更好地抒發(fā)畫(huà)家的感情，還能提高作品的藝術(shù)魅力，增強(qiáng)花鳥(niǎo)畫(huà)的藝術(shù)感染力。最后，結(jié)合自己的創(chuàng)作談自己對(duì)“比”、“興”手法的運(yùn)用和認(rèn)識(shí)，作者認(rèn)為要?jiǎng)?chuàng)作出優(yōu)秀的花鳥(niǎo)畫(huà)作品，畫(huà)家必須首先在情感上“與物神通”，找到自己和物象的情感共鳴，然后再對(duì)物象進(jìn)行藝術(shù)的想象和擬人夸張的表現(xiàn)，近而達(dá)到物我交融、天人合一的創(chuàng)作境界。 關(guān)鍵詞 關(guān)鍵詞: 花鳥(niǎo)畫(huà) “比”

5、“興” 與物神通 人格化 感時(shí)花濺淚 恨別鳥(niǎo)驚心--- ---“比” 、 “興”手法在中國(guó)花鳥(niǎo)畫(huà)中的運(yùn)用 III objects”), is “Xing”. the so-called “focused on the matter“. Therefore it can be said that the creation of flowers and birds paintings is definitely not a natur

6、alistic copy of the images of things but a way “to express one’s ambitions, feelings and emotions through these images”. This is what the Chinese Flowers and Birds Painting advocates ---- a flower stands for a world, whi

7、le a leaf represents Rulai (the most capable god in the story of Buddhism), which is also the philosophy origin of the aesthetic ideas. It is also a good reflection of the realm in the Flowers and Birds Painting ---- “im

8、ages and their painters, Heaven and man are so well combined just as a whole.” This essay contains three chapters. The first chapter gives a brief introduction of “Bi” and “Xing” from a literary point of view. The second

9、 chapter focuses on the exposition of the use of “Bi” and “Xing“ and their functions in Chinese Flower and Bird paintings. The writer of this essay has also listed some flower and bird painting artists and analyzed their

10、 art works to come to this conclusion: By using “Bi” and “Xing“ in the flower and bird paintings, the painter can not only reach a better combination of human nature and the nature of the things they create as a whole an

11、d better express the painter’s feelings and emotions, but also improve the artistic charm and enhance the artistic appeal of bird and flower painting. Meanwhile, the writer has stated the extension and expansion of the u

12、sage in contemporary Chinese Flowers and Birds Painting by giving examples. Finally, based on her own painting experience, the writer has given her own ideas and opinions on the means of “Bi” and “Xing” . In her opinion,

13、 if an artist wants to create outstanding works in flowers and birds painting, the painter must first emotionally reach a complete agreement with the things to be painted and find their emotional resonance, and then crea

14、te his art works by using artistic imagination and exaggeration so as to create such a realm in the Birds and Flowers Painting---- “ images and their painters, Heaven and man are so well combined just as a whole.” Keywor