本文選題：北宋　切入點：城市　出處：《燕山大學》2014年碩士論文　論文類型：學位論文

【摘要】：北宋政局穩(wěn)定，經(jīng)濟繁榮發(fā)展，山水畫作為人們精神層面的藝術(shù)，在此也鼎盛一時，畫界人才輩出，在山水畫史上發(fā)展到了頂峰，山水畫審美理論也進入了成熟期。北宋以后的山水畫審美承接了郭熙《林泉高致集》的審美理論思想，它成為傳統(tǒng)山水畫審美的精髓。同時北宋界畫建筑的空前發(fā)展，為現(xiàn)代城市山水畫開了先河。北宋山水畫的審美思想占據(jù)了整個傳統(tǒng)山水畫進程。而對于當下一些不基于筆墨審美語言，，一味追求“新穎”與“成績”，偏離了中國畫軌道的現(xiàn)象，本文就此問題展開了論述，以北宋山水畫審美思想為依據(jù)，分析了當代的城市山水畫，并指出城市山水畫的審美方向。 本文通過對城市山水畫中構(gòu)圖，筆墨，立意進行比較分析，闡述了城市山水畫的審美是由傳統(tǒng)山水畫發(fā)展而來，內(nèi)容題材上的“新”并不意味著就要脫離傳統(tǒng)，以北宋山水畫為基準，闡述城市山水畫的繼承，其中審美表現(xiàn)在筆墨語言、審美意象、意境品味等山水畫基礎方面上。師古而不拘泥于復古的形式，每個時代都有創(chuàng)新，城市山水畫既然作為新的山水畫發(fā)展趨勢，就要有自己“新”的點。城市山水畫脫離外在的傳統(tǒng)形式，區(qū)別于北宋山水畫還有在題材上改變了以往以“山”“水”為主要表現(xiàn)內(nèi)容的方式，在表現(xiàn)內(nèi)容上多以“城市”人文景觀出現(xiàn)在畫面中，高樓聳立、道路交錯、車水馬龍等生活的氣息更為濃重，許多代表時代的人文建筑緊跟時代步伐，山水畫隨之而來的變化。在意境素材等方面，城市山水畫運用時代的新型材料；色彩上的大膽運用，描繪了城市生活的絢麗多彩；線條造型上更為剛性。最后以自己的理解，進行了實踐創(chuàng)作，并書寫了對所遇到問題一一解決的過程。
[Abstract]:The Northern Song Dynasty had a stable political situation and a prosperous economy. Landscape painting, as an art of people's spiritual level, was also at its peak in the history of landscape painting. The aesthetic theory of landscape painting has also entered into a mature period. After the Northern Song Dynasty, the aesthetic of landscape painting carried on the aesthetic theory thought of Guo Xi's "Lin Quan Gao Zhi Ji", which became the essence of the traditional landscape painting aesthetics. At the same time, the unprecedented development of the Northern Song Dynasty boundary painting architecture, The aesthetic thought of landscape painting in Northern Song Dynasty occupied the whole process of traditional landscape painting. Blindly pursuing "novelty" and "achievement" deviates from the track of traditional Chinese painting. This paper discusses this problem, based on the aesthetic thought of landscape painting in Northern Song Dynasty, analyzes the contemporary urban landscape painting, and points out the aesthetic direction of urban landscape painting. Through comparative analysis of composition, pen and ink, and intention of urban landscape painting, this paper expounds that the aesthetic of urban landscape painting is developed from traditional landscape painting, and the "new" content does not mean that it is necessary to break away from tradition. Based on the landscape painting of the Northern Song Dynasty, this paper expounds the inheritance of the urban landscape painting, in which the aesthetic expression is based on the language of pen and ink, the aesthetic image, the taste of artistic conception, and so on. Since urban landscape painting is a new trend of landscape painting, it is necessary to have its own "new" point. Different from the landscape paintings of the Northern Song Dynasty, they also changed the way in the past in which "Mountain" and "Water" were the main performance content. In the performance content, they appeared in the picture as "city" humanistic landscape, with tall buildings standing up and roads crisscrossing. The atmosphere of life is thicker, many of the humanistic buildings that represent the times keep up with the times, and landscape paintings change. In terms of artistic conception materials, urban landscape paintings use new materials of the times, and bold use of colors. It depicts the colorful city life and the more rigid line shape. Finally, with its own understanding, it creates practice and writes the process of solving the problems encountered one by one.
【學位授予單位】：燕山大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

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