试论徐渭的大写意画风

摘要

徐渭字文清，号天池山人，又有田丹水、天池生、天池渔隐、青藤老人、金垒、金回山人、山阴布衣、白鹇山人、鹅鼻山侬等别号。晚年号青藤道士，或署名田水月。山阴（今浙江绍兴）人。生于明武宗正德十六年（1521年），卒于明神宗万历二十一年（1593年）。中国明代画家、书法家、戏曲家。徐渭在诗文、戏曲、书画等方面，均有深厚的造诣，是一位具有革新精神的文学家和艺术家。徐渭艺术活动的范围和成就是广泛而卓著的，无论是中国文学史、中国书法史还是中国绘画史都要将其重重的写上一笔。但纵观后世对徐渭艺术的评价，最受称道和瞩目的还是他在绘画方面艺术成就和历史影响。

徐渭绘画风格的独特个性背后，潜藏着绘画艺术乃至整个艺术学规律中的诸多重大的命题，很具有典型性。经典总能吸引后人不断探究的目光，从明代以来，对于徐渭绘画的评论和研究就没有间断过。但是，相对于对徐渭文学方面的研究和评论，对他绘画方面的研究则仍显不够。这些都是该项选题的原因所在。从传世的徐渭绘画作品看，其题材绝大部分集中在花鸟画领域，其风格属于中国画中的大写意一类，这些也多是学术界所普遍认同的。所以本文将以其花鸟绘画为依托，研究对象设为徐渭花鸟画作品中大写意绘画风格方面，作品范围限定在徐渭的花鸟画，不包括其人物画。在这里有必要对该论题中的几个概念予以明确:徐渭，历史的事实是，其身份始终是一个传统文化下的文人，故本文将徐渭身份定位为文人，而不是我们今天意义上将其分割为的画家、书法家和文学家等等名衔下的艺术家。因此，对他艺术活动及成就的研究，应持一种宽广的文化视野，并将其在文学、绘画、书法等各个方面的研究综合起来考察。并且，本文重在徐渭后天的文化心理人格的研究，对于其先天的生理气质和一段时期内出现过精神上的疾病暂不涉及。

针对徐渭绘画研究中存在的问题，本文首先从风格发展史角度，对影响徐渭画风形成的写意花鸟画传统，明代草书状况以及绘画的师承渊源、美学渊源进行梳理分析。然后将徐渭画风放在大写意风格流派内部进行比较的基础上，对其绘画风格作出一个总体性描述。进而从形式层面分析了其画风创建的关键性环节要素，并考察了徐渭画学思想与其风格的关系。接着，在风格演变的外部，将徐渭放在具体的历史文化背景下，分析了徐渭的生命人格与对其绘画创作的艺术冲动、艺术理想的影响，对其画风创建的深层动因以及选择性继承等问题作出解释。最后，讨论了徐渭绘画对当代启示意义。第1至3

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章偏于审美层面的研讨，第4章重在非审美层面的研究，第5章进行理论的总结反思。关键词:徐渭大写意绘画风格

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Abstract

Xu Wei's word is gentle and clear, mountain of number Tianchi people, have DanShui, Tianchi grow, Tianchi fishing latent, blue and green rattan old man Tian, gold build, gold go back mountain people, people, commoner of ubac and mountain of silver pheasant Taoist priest of blue and green rattan of number in old age, or sign the water moon in the field. People of the ubac (Shaoxing of Zhejiang of today). Born in bright military straight 16 years (1521) of Germany, died in bright the 21st year of perpetual calendar (1593) of Shenzong. Painter, calligraphist, opera family in the Ming Dynasty of Chinese. Xu Wei is in such aspects as poetic prose, opera, calligraphy and painting, there are deep attainments.Xu Wei range and achievement of the art activity are extensive and distinguished, no matter history or history, painting of China, history of Chinese literature and calligraphy of Chinese want writing first very heavy their.

Xu Wei painting behind the unique individual character of style, hide graphics art and even whole art a great deal of great propositions to study law, have it as model of the specific artistic phenomenon. And classics always can attract, live in descendant look back on sight that stare constantly, since Ming Dynasty to Xu Wei comment and study, rest from last line of painting. However, as to the research of Xu Wei's literature, although research of the painting field is very lively and still apparent and non- enough. All these are the reason of this selected title. By the look of painting works of Xu Wei handed down from ancient times, its most concentration of subject matter are in the field of flower-and-bird painting, its style belongs to a big comfortable one in Chinese painting, these are mostly what academia generally admit too. So this text will be supported by its painting of birds and flowers, the research object will be set as the great comfortable painting style in Xu Wei's flower-and-bird painting works, the range of works is limited in Xu Wei's flower-and-bird painting, excluding their figure paintings. It is necessary to give several concepts in this proposition clearly here: Xu Wei, the fact of history is, its identity is a scholar under a traditional culture all the time, so this text orientate scholar as Xu Wei identity, but not we today painter, calligraphist, writer that split into it,etc., general of meaning, name hold in the mouth the artist under. So, the study on his art activity and achievement, should hold a kind of broad culture visual field, stand up to investigate it synthetically in literature, painting, calligraphy research of all respects. And this text make a key point Xu Wei acquired culture psychological personality study, appear as to congenital physiological makings and one period of period its spiritual disease wouldn't

involve.

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