本文關(guān)鍵詞： 桂林山水畫 史料 發(fā)展脈絡(luò) 畫家及作品　出處：《廣西師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：筆者著手桂林山水繪畫畫家及作品的調(diào)查、考查和研究工作,按時(shí)間、空間順序,將包括各表現(xiàn)形式在內(nèi)的歷代桂林山水繪畫的數(shù)據(jù)資料按序編排,列制成表,寫成調(diào)查報(bào)告。 桂林山水畫是指以表現(xiàn)桂林山水為題材的繪畫,其創(chuàng)作者與研究者并不限于桂林籍,體裁以中國畫為主,也應(yīng)包括油畫、版畫、水彩等繪畫種類。作為桂林山水題材的繪畫于宋代已見端倪,但直至元代未見傳世作品。明代鄒迪光擬米芾《陽朔山圖》作了同名卷,至清末漸始漸興起,20世紀(jì)進(jìn)入興盛期,表現(xiàn)桂林山水的畫作可謂層出不窮。但毋庸諱言,桂林山水畫研究至今薄弱,而在本來薄弱的桂林山水畫研究方面首要的基礎(chǔ)工作就是畫家和作品的統(tǒng)計(jì)整理,無論查閱和考證,宏觀把握還是個案專訪,無疑都是該研究中的一個細(xì)致而艱辛的步驟。意在為桂林山水畫發(fā)展研究提供基礎(chǔ)性文本。 論文共分為五大部分進(jìn)行論證,其中包括四章和結(jié)語。 第一章將宋代至清代桂林山水題材繪畫的史料以時(shí)間為軸分類整理,對桂林山水畫在清代以前極少畫作傳世的原因進(jìn)行分析和論述。這一章分為三個部分,第一部分主要追尋宋代米芾《陽朔山圖》的畫跡,并嘗試從鸚鵡山石刻《靜江府城池圖》找出早期桂林山水畫的形態(tài)。第二部分以明代鄒迪光的簡介及《陽朔山圖》(摹本)為主要內(nèi)容。第三部分解讀石濤與桂林山水的淵源,并尋覓清代臨桂畫家群的桂林山水繪畫。 第二章主要列出近代(1840年—1919年)桂林山水題材繪畫的畫家及作品。由于大批文化人避兵至桂林,以桂林山水為題材的繪畫也大量出現(xiàn)。隨著美術(shù)運(yùn)動的興起,廣西本地畫家也拿起畫筆,投身繪畫創(chuàng)作中。有一部分畫家甚至提出建立屬于廣西自己的畫派的主張。 第三章和第四章以現(xiàn)當(dāng)代桂林山水題材繪畫的畫家和作品為主要內(nèi)容。桂林山水畫至現(xiàn)代呈現(xiàn)出蓬勃發(fā)展的態(tài)勢,畫桂林山水的人數(shù)眾多,表現(xiàn)形式多樣�，F(xiàn)當(dāng)代的桂林山水畫畫家在學(xué)習(xí)傳統(tǒng)中國畫技法的同時(shí),也受到了外來繪畫的影響,他們正在探索一條傳統(tǒng)藝術(shù)理念與現(xiàn)代技法相融合的道路。
[Abstract]:The author began to investigate, examine and study the landscape painters and their works in Guilin. According to the order of time and space, the data of the landscape paintings of the past dynasties, including various forms of expression, were arranged in order, made into tables and written into investigation reports. Guilin landscape painting refers to the painting with the theme of showing the landscape of Guilin. Its creators and researchers are not limited to Guilin's books. The genre is mainly Chinese painting, which should also include oil painting and printmaking. Watercolor and other painting types. As a theme of Guilin landscape painting has been seen in the Song Dynasty, but until the Yuan Dynasty did not see the works. The Ming Dynasty Zou Diguang mimic Mi Fu "Yangshuo Mountain Pictures" made the volume of the same name, until the late Qing Dynasty gradually began to rise into the prosperous period of the 20th century, The paintings that represent the landscape of Guilin can be described as endlessly emerging. But there is no denying that the study of the landscape painting in Guilin is so far weak, and the primary basic work in the originally weak study of landscape painting in Guilin is the statistics and collation of the painters and works. No matter consult and textual research, macroscopical assurance or individual case interview, are undoubtedly a meticulous and arduous step in this research, which is intended to provide the basic text for the research of Guilin landscape painting development. The thesis is divided into five parts, including four chapters and conclusion. The first chapter classifies the historical materials of Guilin landscape painting from Song Dynasty to Qing Dynasty with time axis, and analyzes and discusses the reason why few paintings were handed down before Qing Dynasty. This chapter is divided into three parts. The first part is mainly to trace the paintings of Mi Fu's "Yangshuo Mountain Pictures" in the Song Dynasty. In the second part, the brief introduction of Zou Diguang in Ming Dynasty and Yangshuo Mountain Picture (copy) are taken as the main contents. The third part interprets the origin of Shi Tao and Guilin landscape. And looking for the Qing Dynasty Lingui painters group of Guilin landscape painting. The second chapter mainly lists the modern (1840-1919) Guilin landscape painting artists and works. Because a large number of cultural people to avoid soldiers to Guilin, Guilin landscape painting also appeared in large numbers. With the rise of the art movement, Some local painters even put forward the idea of establishing their own painting schools. The third and 4th chapters mainly focus on the painter and works of modern and contemporary landscape painting in Guilin. The landscape painting in Guilin has developed vigorously from the modern times, and the number of people painting the landscape in Guilin is numerous. Modern and contemporary landscape painting painters in Guilin are learning traditional Chinese painting techniques, but also by the influence of foreign painting, they are exploring a traditional art concept and modern techniques to combine the road.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J209.2

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本文編號：1504017