本文選題：山水畫　切入點：亭子　出處：《南京藝術(shù)學(xué)院》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：亭子外觀小巧且四面無墻，在中國傳統(tǒng)建筑中是造型最“簡陋”的，但就是因為這“簡陋”，才使亭子成為與自然最親近的建筑，并且因為它近自然的特性，亭子的精神價值也得以被最具哲理冥思的中國古代文人不斷發(fā)掘。因此，在中國文化和歷史發(fā)展的過程中，圍繞亭子積淀了豐富的精神意蘊，“亭子”的形象逐漸成為了一種文化的符號與象征。在中國山水畫中，作為建筑點景的亭子因其特殊的畫面形象及功能被大量運用到山水畫中，伴隨著山水畫的日益成熟逐漸被賦予了更加明晰和豐富的內(nèi)涵，在意味深幽的中國山水畫中，“亭子”成了“詩意的棲居”。本文從解析建筑亭的造型變化入手，對比各個朝代山水畫中出現(xiàn)的亭子形象，剖析其在畫面中的形式美感及其對山水畫意境表達的貢獻。從亭子形象由寫實到寫意，由具象到意象符號的變化過程中解讀“亭子”在中國山水畫中獨特的美學(xué)內(nèi)涵。
[Abstract]:The pavilion is small in appearance and has no walls on all sides. It is in the traditional Chinese architecture that the pavilion is the most "simple", but it is precisely because of this "simplicity" that the pavilion is the closest to nature, and because of its nature, it is close to nature. The spiritual value of pavilions has also been unearthed by the most philosophical scholars in ancient China. Therefore, in the course of the development of Chinese culture and history, The image of "pavilion" has gradually become a kind of symbol and symbol of culture around the pavilion. In Chinese landscape painting, the pavilion, as a architectural spot, has been widely used in landscape painting because of its special image and function. With the growing maturity of landscape painting, it has been endowed with more clear and rich connotation. In the Chinese landscape painting with deep meaning, "pavilion" has become a "poetic dwelling". Comparing the pavilions in the landscape paintings of different dynasties, analyzing their aesthetic sense of form and their contribution to the expression of artistic conception of landscape painting, from realistic to freehand brushwork, Interpretation of the unique aesthetic connotation of pavilions in Chinese landscape painting in the process of changing from figurative to image symbols.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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相關(guān)期刊論文 前2條

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本文編號：1652481