本文選題：早春圖 + 郭熙�。� 參考：《揚州大學》2014年碩士論文

【摘要】：五代北宋是中國山水畫的全盛時期,此時的山水畫通常會表現(xiàn)一些極似真實性的場景如同還原了自然界中某一部分,但這些景致又是意造的,它的表現(xiàn)并不符合真實的客觀規(guī)律,這種亦真亦幻的畫面效果,很大程度上取決于空間技法的把握與運用。在山水畫的進程中,空間理論發(fā)展以及對山水畫創(chuàng)作的影響和貢獻是值得我們去研究的,理論中的哪些內容會對山水畫空間表現(xiàn)產(chǎn)生影響,或者是山水畫理論反映了山水畫中空間表現(xiàn)的哪些特點,這些都是本文重點關注的地方�！对绱簣D》是此時最具代表性的作品,其空間表現(xiàn)技法的多樣性成為了本文的研究對象。在研究中發(fā)現(xiàn),畫面中具體的物象表現(xiàn)對畫面空間產(chǎn)生了極其重要的作用,而筆墨技法則相對次要,這種現(xiàn)象有違人們對山水畫的一般認識,本文將對這兩種表現(xiàn)方法做具體的論述。 論文采用了文獻研究和圖像對比研究的方法,以郭熙《早春圖》中的物象元素為研究對象,結合郭熙的繪畫思想、藝術風格分析了郭熙《早春圖》空間表現(xiàn)技法的運用,并使之成為空間表現(xiàn)的個案研究。 此外,在山水畫中常提及的“三遠法”、“散點透視法”等空間表現(xiàn)理論,并沒有在《早春圖》的空間表現(xiàn)中起到明顯作用。對于探索傳統(tǒng)山水畫的空間表現(xiàn)我們不能只局限于理論的研究上,而應多角度關注繪畫作品本身,這種觀念也是筆者通過本文想傳遞給讀者的。
[Abstract]:The Northern Song Dynasty of the five dynasties was the heyday of Chinese landscape painting. At this time, the landscape painting usually showed some scenes which were very similar to reality as if they had restored a certain part of nature, but these landscapes were created by the will. Its performance does not accord with the objective law of reality, and this kind of picture effect, which is also true and illusory, depends to a great extent on the grasp and application of spatial techniques. In the process of landscape painting, the development of space theory and its influence and contribution to landscape painting creation are worthy of our study. Or the theory of landscape painting reflects the characteristics of space performance in landscape painting, which are the focus of this paper. Early Spring Pictures is the most representative works at this time, and the diversity of its spatial representation techniques has become the object of this paper. In the study, it is found that the concrete image expression in the picture plays an extremely important role in the picture space, while the brush and ink technique is relatively secondary. This phenomenon is contrary to the general understanding of landscape painting. This article will make the concrete elaboration to these two kinds of expression methods. This paper adopts the methods of literature research and image contrast study, taking the image elements in Guo Xi's "early Spring Picture" as the research object, and combining Guo Xi's painting thought, analyzes the application of Guo Xi's "early Spring Picture" space expression technique. And make it a case study of spatial expression. In addition, the theory of spatial representation, such as "three far method" and "scattered point perspective", which is often mentioned in landscape painting, has not played an obvious role in the space expression of "early spring map". To explore the space performance of traditional landscape painting we can not only focus on theoretical research but should pay more attention to the painting itself. This concept is also the author of this article to pass on to the reader.
【學位授予單位】：揚州大學
【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3條

1 陳綬祥;近大遠小 以大觀小 變時變空——中國畫透視芻議[J];美術;1982年07期

2 陳池瑜;郭熙的山水畫美學思想[J];南陽師范學院學報(社會科學版);2005年01期

3 孟憲平;;作為山水意境的“三遠”——對傳統(tǒng)山水畫空間概念之反思[J];美術觀察;2013年05期

，

本文編號：1894381