本文選題：拙政園　切入點：明代繪畫　出處：《華中農(nóng)業(yè)大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：通常中國古典園林史學(xué)研究以形式和風(fēng)格的變遷作為研究重點或以園林圖繪、詩文為研究對象止于語言上的哲思。園林的視覺基礎(chǔ)是中國傳統(tǒng)文人山水畫,從山水的多重角度觀望,是全面的客觀的看法,是產(chǎn)生園林空間和意境的起點。作為明中葉吳中文人的代表,文徵明的詩畫創(chuàng)作體現(xiàn)了中國傳統(tǒng)的藝術(shù)創(chuàng)作過程；而且文徽明在《拙政園三十一景圖冊》上,為文人山水園林美學(xué)和文化方面提升了新的高度。論文核心內(nèi)容分為三部分。第一部分即為第二章,從文徵明人生經(jīng)歷著手,結(jié)合對《拙政園三十一景圖冊》畫面和題詩的分析,對繪畫和園林創(chuàng)作中思想觀念、審美趣味、情感表達(dá)等問題進(jìn)行探索。第二部分即為第三章,在已有的風(fēng)景園林知識體系和其他知識理論的基礎(chǔ)上,利用計算機(jī)軟件的手段,分別建立了三十一個景點數(shù)字模型和園林整體數(shù)字模型。第三部分包括第四章和第五章,第四章對建立的三十一個景點數(shù)字模型進(jìn)行數(shù)據(jù)量化,建立文徵明對于拙政園的觀看視角系統(tǒng)。第五章以開放性的閱讀方式,依據(jù)園林“步移景異”的空間特點,在園記和注記路線分析的基礎(chǔ)上,尋找三維空間的動態(tài)巡游路徑,獲得片段式畫面,最終完成山水畫長卷的復(fù)原。本文未對《拙政園三十一景圖冊》中的詩畫意境等作深入研究。本文基于以文徵明為代表的傳統(tǒng)儒家文人的視角,對《拙政園三十一景圖冊》的視覺經(jīng)驗進(jìn)行了數(shù)據(jù)量化,從物質(zhì)性和精神性兩方面探尋山水畫和山水園林創(chuàng)作的起點,旨在最終揭示園林創(chuàng)作機(jī)制背后復(fù)雜而深刻的“無形之手”。從山水繪畫和園林繪畫出發(fā),探索山水園林的觀看之道、審美情趣、創(chuàng)作理想與情感體驗,希望為中國古典園林研究開辟新的方向,為當(dāng)代中國園林的發(fā)展提供新的啟示。
[Abstract]:The study of Chinese classical garden history usually focuses on the change of form and style or on garden drawing and drawing, and poetry is the object of study. The visual basis of garden is Chinese traditional literati landscape painting. Wait-and-see from the view of landscape is a comprehensive objective view and the starting point of the garden space and artistic conception. As the representative of the literati in the middle of Ming Dynasty and Wu Dynasty, the poetry and painting creation of Wenzhengming embodies the process of Chinese traditional art creation. Moreover, in the "31 Landscape Atlas of the botched political Garden", Wen Huiming elevates a new height for the aesthetics and culture of literati landscape gardens. The core content of the thesis is divided into three parts. The first part is the second chapter, which begins with Wen Zhengming's life experience. Based on the analysis of the picture and poem of the 31 scene Atlas of the botched political Garden, this paper probes into the problems of ideology, aesthetic taste and emotional expression in painting and garden creation. The second part is the third chapter. Based on the existing knowledge system of landscape architecture and other knowledge theories, 31 scenic spot digital models and garden whole digital models are established by means of computer software. The third part includes 4th chapters and 5th chapters. Chapter 4th quantifies the digital model of 31 scenic spots and sets up the viewing angle system of Wen Zhengming for the botched government garden. Chapter 5th reads in an open way, according to the spatial characteristics of the garden "moving the scenery differently". On the basis of the analysis of the Yuanji and the annotated route, the dynamic cruise path in three dimensional space is found, and the segmented picture is obtained. Finally, the restoration of landscape painting scroll was completed. This paper did not make a thorough study on the artistic conception of poetry and painting in the 31 scene Atlas of the botched political Garden. This article is based on the perspective of the traditional Confucian literati represented by Wenzheng and Ming Dynasty. This paper quantifies the visual experience of "31 Landscape Atlas of the botched political Garden", and probes into the starting point of landscape painting and landscape garden creation from the aspects of materiality and spirituality. The aim is to finally reveal the complex and profound "invisible hand" behind the garden creation mechanism. From the view of landscape painting and garden painting, this paper explores the way of viewing, aesthetic taste, creative ideal and emotional experience of landscape garden. Hope to open up a new direction for the study of Chinese classical gardens and provide new enlightenment for the development of contemporary Chinese gardens.
【學(xué)位授予單位】：華中農(nóng)業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：TU986.1

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