本文選題：兩宋 + 園林��； 參考：《浙江大學(xué)》2013年碩士論文

【摘要】：兩宋時期,山水畫發(fā)生重大變革,小幅邊角山水取代卷軸全景山水成為南宋畫壇主流。邊角小幅獨立成景,無論從尺幅還是從內(nèi)容上都可看作是對北宋全景的“裁取”。裁取之余,南宋畫家對園林場景進行“實化”與“虛化”。兩宋山水的這一轉(zhuǎn)變反映了宋人對園林場景的認知由連續(xù)場景的經(jīng)營變?yōu)榫植烤坝^的刻畫。這一現(xiàn)象促使園林小景的構(gòu)筑開始注重邊角處理并逐步形成景區(qū)。二者的變化是以園林文字著述由“總說成景”到“分述成景”的轉(zhuǎn)變?yōu)橄葘?dǎo)的。
[Abstract]:During the Song Dynasty, landscape painting underwent major changes, small corner landscape instead of scroll panoramic landscape became the mainstream of Southern Song painting. Corner small independent scene, whether from the ruler or from the content can be seen as the Northern Song panorama of the "cut." On the other hand, the Southern Song Dynasty painters carried out "materialization" and "nihilization" of landscape scenes. The change of landscape in Song Dynasty reflects the change from continuous scene management to local landscape description. This phenomenon prompted the construction of garden landscape began to pay attention to the corner processing and gradually formed the scenic spot. The change of both is based on the change of landscape writing from "total saying into scenery" to "dividing into scenery".
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：TU-098.4

【參考文獻】

相關(guān)期刊論文 前4條

1 顧凱;;畫意原則的確立與晚明造園的轉(zhuǎn)折[J];建筑學(xué)報;2010年S1期

2 顧凱;;晚明江南造園的轉(zhuǎn)變[J];中國建筑史論匯刊;2008年00期

3 余永健;簡論小景與宋汀渚水鳥畫的意境關(guān)系[J];藝術(shù)探索;2003年04期

4 曹汛;;造園大師張南垣(二)——紀念張南垣誕生四百周年[J];中國園林;1988年03期

，

本文編號：1810899