本文關(guān)鍵詞： 意境 筆墨 氣韻 意在筆先 意在筆后　出處：《哈爾濱師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：中國山水畫在其發(fā)展的漫長的歷史時期，逐漸的從人物畫的背景中獨立出來成為獨立的畫科，山水畫一直處于中國畫的核心地位，在其發(fā)展的過程中，許多的山水畫家對山水畫寫生中的筆墨效果、構(gòu)圖的形式、意境的生成等方面有了深刻的認(rèn)識和許多創(chuàng)新的見解，本文主要通過山水畫的構(gòu)成要素來談山水畫寫生中意與筆的關(guān)系，筆與意的關(guān)系即是對立的又是統(tǒng)一的，筆與意是藝術(shù)美的成因，筆與意的關(guān)系體現(xiàn)中國傳統(tǒng)繪畫的思想，，筆與意的關(guān)系是作品的氣韻生動直接條件，我們在山水畫的寫生中如何繼承前人作品中的精髓，以創(chuàng)新的精神處理好筆與意的關(guān)系是我們要研究和將要解決的問題。
[Abstract]:Chinese landscape painting in its long historical period, gradually from the background of figure painting to become an independent painting, landscape painting has been in the core position of Chinese painting, in its development process, Many landscape painters have a profound understanding and many innovative views on the brushwork effect, the form of composition, the formation of artistic conception, and so on. This paper mainly discusses the relationship between the meaning and the pen in the painting of landscape painting through the composing elements of the landscape painting. The relationship between the pen and the meaning is not only opposite but also unified. The relationship between the pen and the meaning is the cause of artistic beauty, and the relationship between the pen and the meaning reflects the thought of Chinese traditional painting. The relationship between pen and meaning is the vivid and direct condition of the work. How to inherit the essence of previous works in the sketch of landscape painting and how to handle the relationship between pen and meaning in the spirit of innovation are the problems that we should study and solve.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 盧禹舜;;論神韻[J];工會博覽(藝苑版);2007年05期

2 盧禹舜;;論精神[J];工會博覽(藝苑版);2007年05期

本文編號：1535220