从“骨力强劲”到“强其骨”的衍生——李瑞清对潘天寿绘画的影响

《从“骨力强劲”到“强其骨”的衍生——李瑞清对潘天寿绘画的影响》由会员上传分享，免费在线阅读，更多相关内容在学术论文-天天文库。

1、独创声明本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果，也不包含为获得（注：如没有其他需要特别声明的，本栏可空）或其他教育机构的学位或证书使用过的材料。与我一同工作的同志对本研究所做的任何贡献均已在论文中作了明确的说明并表示谢意。学位论文作者签名：导师签字：学位论文版权使用授权书本学位论文作者完全了解学校有关保留、使用学位论文的规定，有权保留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。本人授权学校可以将学位

2、论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存、汇编学位论文。（保密的学位论文在解密后适用本授权书）学位论文作者签名：导师签字：签字日期：年月日签字日期：年月日3目录中文摘要······················································1ABSTRACT······················································3导论···················································

3、······5一、选题缘由···················································5二、研究方式途径···············································6第一章一生传奇的人物——李瑞清···································7第一节童年及少年时代···········································7第二节青年时期···········································

4、·····8一、婚姻······················································8二、学业仕途···················································9第三节从教时期················································9第四节晚年时期···············································11一、买书营生···································

5、···············11二、李瑞清与弟子··············································11第二章李瑞清的艺术特色·········································13第一节篆隶精神骨力强劲·········································13一、求篆于金··················································13二、求（分）隶于石····························

6、·················15三、纳碑入帖··················································15四、篆隶精神骨力强劲···········································16第二节以书入画格调高古········································17一、书画同源··················································17二、篆隶入画古拙高雅·······················

7、····················18第三章潘天寿与李瑞清的师承关系··································21第一节篆隶入画——由“骨力强劲”到“强其骨”·······················21第二节艺术格调的影响——高雅古拙的画风····························24第三节绘画技法的影响——溯本求源·································25一、用笔····················································

8、·25二、用墨用色··················································27三、山石树法·