本文選題：傳統(tǒng)重彩山水畫 + 材料因素　； 參考：《揚(yáng)州大學(xué)》2013年碩士論文

【摘要】：我國(guó)的山水畫自誕生起就以再現(xiàn)自然的重彩形式展現(xiàn)在世人面前,原始時(shí)期的繪畫藝術(shù)中重彩就開始了有了萌芽,魏晉時(shí)期初步形成,但大多作為畫面背景出現(xiàn)。繁榮于隋唐時(shí)期,南宋再度形成高峰。在唐代中期雖然出現(xiàn)了王維、張?jiān)宓热说乃剿?但是依然保持著色墨并重的局面,五代以后,隨著水墨山水畫的興起,重彩山水畫被人們慢慢冷落甚至淡忘,對(duì)色彩的感情也逐步淡漠了。宋元以后,傳統(tǒng)重彩山受水墨因素的影響更加明顯,演變成小青綠山水樣式,畫面也更加重視筆墨,忽視色彩。就這樣水墨畫慢慢的占據(jù)了畫壇的主要地位,而重彩山水畫卻在歷史的演變中逐漸衰落和轉(zhuǎn)化,這不得不讓人為之惋惜。那么,促進(jìn)這古老的重彩山水畫,在歷史的演變中走向衰落的另一重要因素是什么呢?筆者在研究其因水墨山水畫的發(fā)展而衰退的主要原因之外,認(rèn)為重彩山水畫材料因素也是一個(gè)不可忽視的主要原因。 重彩山水畫材料因素是影響其發(fā)展的因素之一,隨著時(shí)代的發(fā)展,重彩山水畫所用的材料不能滿足人們審美的需要,問題和矛盾也日益顯現(xiàn)出來。那么材料因素是如何影響我國(guó)傳統(tǒng)重彩山水畫發(fā)展的呢?因此,本文將重彩山水畫的材料因素作為主要研究?jī)?nèi)容,目的在于,使其能夠更加完整細(xì)致的展現(xiàn)重彩山水畫走向衰落的過程,從而更深刻的了解和掌握材料因素對(duì)重彩山水畫發(fā)展的影響。文章在論述中共分為四部分： 第一部分,從顏料的角度來講,重彩畫顏料是繪畫的關(guān)鍵,而重彩顏料的制作與應(yīng)用,又限制了重彩畫的發(fā)展。文章主要從顏料本身制作工藝和繪制工藝的復(fù)雜性著手,詳細(xì)論述顏料因素對(duì)重彩山水畫發(fā)展的影響。 第二部分,從繪畫基底材料的角度來講,分別從絹、紙的制作工藝和繪制工藝的復(fù)雜性來以及墻面的因素入手,闡述基底材料的局限性與重彩山水畫演變的關(guān)系。繪畫作品是憑借繪畫基底而存在的,不同的畫底有不同的表現(xiàn)效果,畫家們?yōu)榱吮磉_(dá)他們的藝術(shù)觀點(diǎn),不得不選用適宜的畫底來繪制。所以說繪畫基底材料關(guān)系到繪畫技法的選擇,繼而關(guān)系到該繪畫種類的存亡。 第三部分,主要探討調(diào)色劑和黏合劑的單一性,對(duì)傳統(tǒng)重彩山水畫發(fā)展的影響,分析水、膠的使用方法的復(fù)雜性與重彩山水畫發(fā)展的關(guān)系。 第四部分,分析重彩山水畫裝裱工藝和傳統(tǒng)書畫的不易保存,而對(duì)傳統(tǒng)重彩山水畫發(fā)展的影響,很多作品由于裝裱和保存的不當(dāng),會(huì)產(chǎn)生變色、蟲蛀等問題,會(huì)不可避免的影響古代重彩山水畫技術(shù)的承傳。
[Abstract]:Chinese landscape painting has been displayed in front of the world in the form of reproduction of natural color since its birth. In the original period of the painting, the heavy color began to germinate, and the Wei and Jin Dynasties were initially formed, but most of them appeared as the background of the picture. In the Sui and Tang Dynasties, the Southern Song Dynasty reformed the peak again. Although Wang Wei and Zhang algae appeared in the middle of the Tang Dynasty People's ink and water landscape painting, but still maintain the situation of coloring ink and ink, after the five generation, with the rise of ink and water landscape painting, heavy landscape painting is slowly cold and even forgotten, and the feelings of color gradually fade away. After the song and Yuan Dynasty, the traditional heavy color mountain influenced by the ink and ink factors more obvious, evolved into small green landscape style, picture We also pay more attention to the ink and ink and ignore the color. So the ink painting gradually occupies the main position of the painting world, and the heavy landscape painting has gradually declined and transformed in the historical evolution, and it has to be regretted. Then, what is the other important factor to promote the ancient heavy landscape painting and the decline in the historical evolution? Apart from studying the main reasons for the decline of ink and wash landscape painting, it is considered that the main reason for the heavy colored landscape painting is also a material factor.
The material factor of heavy landscape painting is one of the factors that affect its development. With the development of the times, the materials used in the heavy landscape painting can not meet the needs of people's aesthetic, and the problems and contradictions are becoming increasingly apparent. Then how do the material factors affect the traditional heavy landscape painting development of our country? Therefore, this article will make the material of the heavy landscape painting. As the main research content, the purpose is to make it more complete and meticulous to show the decline process of heavy landscape painting, so as to understand and master the influence of material factors on the development of heavy landscape painting. The article is divided into four parts:
The first part, from the point of view of the pigment, the heavy color paint is the key to the painting, and the production and application of the heavy color pigment has limited the development of the heavy color painting. The article mainly discusses the influence of the pigment factors on the development of the heavy landscape painting from the process of making the pigment itself and the complexity of the painting process.
In the second part, from the point of view of the base material of the painting, from the process of making the silk, the paper and the complexity of the drawing process and the factors of the wall, the relationship between the limitation of the base material and the evolution of the heavy landscape painting is expounded. The paintings are based on the basement of the painting, and the different paintings have different performance effects. In order to express their artistic views, they have to choose the suitable bottom of the painting to draw. So the base material of the painting is related to the selection of painting techniques, and then the survival of the type of painting.
The third part mainly discusses the singleness of the toner and adhesive, the influence on the development of traditional heavy landscape painting, and analyses the relationship between the complexity of the use of water, the use of glue and the development of heavy landscape painting.
The fourth part, the analysis of heavy landscape painting mount technology and traditional calligraphy and painting is not easy to preserve, and the influence of traditional heavy landscape painting development, many works due to mounting and preservation of improper, will produce discoloration, worm moth and other problems, will inevitably affect the inheritance of ancient heavy landscape painting techniques.

【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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