本文選題：現(xiàn)代景觀 + 中國(guó)畫(huà)章法��； 參考：《魯迅美術(shù)學(xué)院》2017年碩士論文

【摘要】：中國(guó)傳統(tǒng)山水畫(huà)在歷史的舞臺(tái)上具有悠久的文化積淀,也凝聚著中國(guó)人獨(dú)特的魅力,而中國(guó)畫(huà)章法理論與中國(guó)古典園林的互融也擁有著十分重要的地位。中國(guó)古代建筑藝術(shù)的門(mén)類(lèi)豐富多彩,其中藝術(shù)成就最高的當(dāng)屬園林藝術(shù)。中國(guó)園林藝術(shù)最早可追溯到商周時(shí)代,但這不僅僅是因?yàn)闅v史悠久,其背后的發(fā)展過(guò)程中逐漸形成自己獨(dú)特的民族風(fēng)格最為重要,使中國(guó)景觀園林迥異于其他國(guó)家的花園,在世界園林史上獨(dú)樹(shù)一幟。而這背后的造園大師之中,除了專(zhuān)職的造園師,更多的是造詣很深的畫(huà)家和藝術(shù)家,他們有精湛的藝術(shù)素養(yǎng),以詩(shī)畫(huà)理論來(lái)指導(dǎo)園林創(chuàng)作并留下了不朽的藝術(shù)杰作。隨著社會(huì)形態(tài)的迅猛發(fā)展和景觀西化的趨勢(shì),揭示了對(duì)民族文化特色的缺失和生態(tài)理念的認(rèn)知不足,種種這一切不得不讓人們正視生態(tài)與能源對(duì)自身生存與發(fā)展所構(gòu)成的緊密聯(lián)系。由此,景觀藝術(shù)不僅可以用作傳承歷史文化的“本土記憶”,更應(yīng)該將“以人為本”的宗旨安放于更寬泛的自然生態(tài)范圍之中,以追求崇尚自然、回歸自然的審美觀念來(lái)指導(dǎo)未來(lái)的景觀設(shè)計(jì)當(dāng)中,打造“雖由人作,宛自天開(kāi)”的獨(dú)具東方特色的藝術(shù)作品。本文以中國(guó)畫(huà)章法理論和中國(guó)古典園林為指導(dǎo)思想,分析了中國(guó)畫(huà)章法的空間營(yíng)造與現(xiàn)代景觀園林的相關(guān)性和景觀園林在中國(guó)山水畫(huà)中的發(fā)展歷程,并闡述了現(xiàn)代景觀設(shè)計(jì)中所面臨的種種問(wèn)題。還以中國(guó)風(fēng)景園林和中國(guó)山水畫(huà)在不同的時(shí)代、不同的文化思潮背景下產(chǎn)生的不同影響展開(kāi)論述,并指出中國(guó)畫(huà)章法的獨(dú)特性對(duì)現(xiàn)代景觀的影響和在景觀設(shè)計(jì)中的應(yīng)用,根據(jù)現(xiàn)有問(wèn)題提出解決對(duì)策。基于中國(guó)畫(huà)章法的理論探究,提出運(yùn)用于現(xiàn)代景觀設(shè)計(jì)的策略研究,希望對(duì)今后的景觀園林設(shè)計(jì)發(fā)展起到一定的指導(dǎo)性意義。
[Abstract]:Chinese traditional landscape painting in the historical stage has a long cultural accumulation, but also condensed the unique charm of the Chinese people, and the theory of Chinese painting rules and Chinese classical garden has a very important position. Ancient Chinese architectural art is rich and colorful, among which the highest artistic achievement is garden art. The earliest Chinese garden art can be traced back to the Shang and Zhou dynasties, but it is not only because of its long history, but also because the development behind it gradually formed its own unique national style is the most important, so that the Chinese landscape is completely different from the gardens of other countries. Unique in the history of world gardens. The master behind this, in addition to full-time gardener, more accomplished painters and artists, they have exquisite artistic literacy, poetry and painting theory to guide garden creation and left immortal masterpiece. With the rapid development of social form and the trend of westernization of landscape, it reveals the lack of national cultural characteristics and the lack of understanding of ecological concept. All this has to make people face up to the close relationship between ecology and energy for their own survival and development. As a result, landscape art can not only be used as a "local memory" for inheriting history and culture, but also should be placed in a broader range of natural ecology in order to pursue and uphold nature. Return to the natural aesthetic concept to guide the future landscape design, to create "made by people, Wantian open" unique oriental characteristics of the works of art. Based on the theory of Chinese painting rules and Chinese classical gardens, this paper analyzes the relationship between the spatial construction of Chinese painting rules and modern landscape architecture, and the development of landscape architecture in Chinese landscape painting. And elaborated the modern landscape design to face the various problems. It also discusses the different influences of Chinese landscape architecture and Chinese landscape painting in different times and different cultural and ideological backgrounds, and points out the influence of the unique style of Chinese painting on modern landscape and its application in landscape design. According to the existing problems put forward solutions. Based on the theoretical research of Chinese painting, this paper puts forward the strategy research of applying to modern landscape design, hoping that it will play a guiding role in the development of landscape architecture design in the future.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：TU986

【參考文獻(xiàn)】

相關(guān)期刊論文 前4條

1 周燕;王江萍;;《園冶》中的宜居環(huán)境思想及其現(xiàn)代運(yùn)用[J];城市建筑;2013年22期

2 王宇石;;基于現(xiàn)代環(huán)境景觀設(shè)計(jì)的古典園林與現(xiàn)代園林簡(jiǎn)析[J];現(xiàn)代園藝;2012年08期

3 陳偉;陳正勇;;中國(guó)漆器藝術(shù)對(duì)18世紀(jì)法國(guó)宮廷藝術(shù)的影響——以蓬巴杜夫人的收藏為例[J];江西社會(huì)科學(xué);2008年10期

4 劉繼潮;建構(gòu)古典山水畫(huà)空間理論的話語(yǔ)體系——釋“以大觀小”的思維智慧[J];美術(shù)研究;2004年02期

相關(guān)碩士學(xué)位論文 前5條

1 方杰;基于散點(diǎn)透視的空間營(yíng)造研究[D];昆明理工大學(xué);2014年

2 張寧寧;山水畫(huà)空間觀念在現(xiàn)代景觀設(shè)計(jì)中的運(yùn)用[D];武漢理工大學(xué);2014年

3 孫媛媛;從山水畫(huà)看風(fēng)景園林設(shè)計(jì)[D];西安建筑科技大學(xué);2009年

4 趙瀟;論中國(guó)山水畫(huà)對(duì)我國(guó)現(xiàn)代景觀設(shè)計(jì)的啟示[D];北京服裝學(xué)院;2008年

5 張峗;文人寫(xiě)意園[D];東南大學(xué);2005年

，

本文編號(hào)：1945218