本文選題：山水詩　切入點：山水畫　出處：《南京師范大學》2014年碩士論文　論文類型：學位論文

【摘要】：詩與畫是空間中的兩條曲線,既各自發(fā)展延伸,又彼此交纏通融。只是詩畫趨于異體同貌的表征與內(nèi)蘊在宋代山水詩、山水畫的發(fā)展進程中才逐漸明朗開來。宋代山水詩與山水畫一方面共同呈現(xiàn)于視覺效果,詩、書、畫三種藝術形式互相配合,交映生輝,另一方面也逐漸在形式、技巧上表現(xiàn)出對對方表現(xiàn)方法的借鑒,進一步豐富了各自的表現(xiàn)效果。除此之外,宋代山水詩、山水畫也有相通一致的形式技巧,但很難說是一種藝術形式模仿另一種藝術形式,或者只是巧合。宋代山水詩與山水畫的關聯(lián)里,包蘊著厚重且豐盈的哲學意識、自然意識、生命意識。自然、社會、生命、藝術,構成宋代文人畫士心理狀態(tài)的縮影與擴張。
[Abstract]:Poetry and painting are two curves in space, which both develop and extend and intertwine with each other. On the one hand, landscape poetry and landscape painting, on the one hand, appeared in the visual effect, poetry, book, painting three forms of art to cooperate with each other, on the other hand, also gradually in the form. In addition, the Song Dynasty landscape poetry and landscape painting also have the same formal skills. But it is hard to say that one form of art imitates another form of art, or that it is just a coincidence. In the connection between landscape poetry and landscape painting in the Song Dynasty, there are rich and abundant philosophical consciousness, natural consciousness, life consciousness, nature, society and life. Art is the epitome and expansion of the mental state of the literati and painters in the Song Dynasty.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

【參考文獻】

相關期刊論文 前2條

1 葉坦;宋代社會發(fā)展的文化特征[J];社會學研究;1996年04期

2 張劍濱;略論中國山水詩與山水畫之空間意識[J];深圳大學學報(人文社會科學版);2002年05期

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本文編號：1604880