發(fā)布時間：2018-02-07 15:42

  本文關(guān)鍵詞： 方聞 中國山水畫 視象結(jié)構(gòu)分析 斷代 真?zhèn)伪嫖?再現(xiàn) 表現(xiàn)　出處：《杭州師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：方聞在以山水畫為主體的中國繪畫史研究中,以中國山水畫與西方藝術(shù)相異的視覺語匯為基本語境,借鑒吸收西方藝術(shù)史研究方法,試圖從具有一定客觀標準性方法體系的研究中打破以往以感性經(jīng)驗為主的中國繪畫真?zhèn)伪嫖鲆约盎静牧狭_列所呈現(xiàn)的中國繪畫史研究舊局面,并在對繪畫作品本身所進行的分析中,試圖走出以往以王朝更替為線索的循環(huán)歷史觀的研究困境,建立更為詳盡明晰的中國繪畫史以及探索更為深刻的中國山水畫獨特視覺語匯下的中國藝術(shù)文化精神。方聞在其以《心印》一書為代表的中國繪畫史研究中,借鑒吸收圖像學(xué)形式分析風(fēng)格理論等西方藝術(shù)史研究方法對以山水畫為主體的中國繪畫具體作品進行了形式及風(fēng)格分析,以建立中國山水畫基本語匯起步,在對繪畫作品中所體現(xiàn)的視象結(jié)構(gòu)形態(tài)變化的觀察中,對中國8-14世紀的山水畫進行了三個階段的分期,以此串聯(lián)出一部中國山水畫史,并在此基礎(chǔ)上,試圖解決中國繪畫史所面對的核心問題——斷代及真?zhèn)伪嫖�。方聞通過對具體繪畫作品的分析,以及由此構(gòu)建起的中國山水畫史,中國山水畫在其獨特視覺表達語匯下的最終落腳點凸顯為中國繪畫美學(xué)中?再現(xiàn)?和?表現(xiàn)?問題。中國山水畫經(jīng)歷了早期對自然山水之?真?的極致追求并最終在?再現(xiàn)?自然筆墨技法的純熟后復(fù)又回歸具有更為廣闊性表達的?表現(xiàn)?中。中國繪畫藝術(shù)審美中的文人畫趣味及其在繪畫中所要傳達的理念和精神由此揭示。
[Abstract]:In the study of the history of Chinese painting with landscape painting as the main body, Fang Wen takes the visual vocabulary of Chinese landscape painting and western art as the basic context to draw lessons from the research methods of western history of art. This paper attempts to break the old situation of the study of Chinese painting history, which used to be based on perceptual experience, and from the research of certain objective standard method system, as well as the analysis of the truth and falsehood of Chinese painting and the listing of basic materials. And in the analysis of the painting itself, I try to get out of the past cycle of historical change as a clue to the plight of the research. To establish a more detailed and clear history of Chinese painting and to explore the spirit of Chinese art and culture under the unique visual vocabulary of Chinese landscape painting. Formal analysis? The style theory and other western art history research methods analyze the form and style of the concrete works of Chinese painting with landscape painting as the main body, in order to establish the basic vocabulary of Chinese landscape painting, In the observation of the changes of the visual structure and form embodied in the painting works, the landscape paintings of China in the 8-14 century are divided into three stages, so as to produce a history of Chinese landscape paintings in series, and on this basis, This paper tries to solve the core problems in the history of Chinese painting-the history of Chinese landscape painting, based on the analysis of concrete paintings and the history of Chinese landscape painting. Chinese landscape painting in its unique visual expressions under the final focus of the highlight of Chinese painting aesthetics? Reappearance? And? Performance? Chinese landscape painting experienced the early natural landscape? Really? The ultimate pursuit and ultimate? Reappearance? Natural pen and ink techniques after mature and return to have a broader expression? Performance? The taste of literati painting in the aesthetic of Chinese painting and the idea and spirit to be conveyed in painting are revealed.
【學(xué)位授予單位】：杭州師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J212

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相關(guān)期刊論文 前1條

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