發(fā)布時間：2018-05-27 00:05

  本文選題：袁江 + 山水樓閣��； 參考：《江西科技師范大學》2014年碩士論文

【摘要】：界畫是中國繪畫中的畫科之一，畫面以亭臺樓閣為主體物進行描繪。界畫的發(fā)展離不開建筑的發(fā)展，而建筑的發(fā)展又與當時的政治、經(jīng)濟等各種社會因素息息相關(guān)。最開始界畫就只是建筑物的設(shè)計圖稿，是經(jīng)過了歷朝歷代的畫家們不斷地研究探索，通過藝術(shù)實踐將其表現(xiàn)形式不斷地完善。清代初期，界畫受元、明二代的影響并沒有像唐、宋代一般廣為流行，而是“文人畫”大為流行的時候，而袁江卻以山水樓閣界畫別具一格的繪畫藝術(shù)風格立足于這個廣為流行“文人畫”的時代，將在元、明二代衰落下去的界畫又推上了一個新的高度。 袁江山水樓閣界畫，在繼承前人傳統(tǒng)基礎(chǔ)上，不斷地研究創(chuàng)新，，將中國界畫藝術(shù)又一次往前發(fā)展了一步，與兒子袁耀創(chuàng)立了清代畫壇上的“袁氏畫派”，記載進了清代畫史。 本文的研究旨在通過考證法，考證清代歷史，對山水界畫的發(fā)展情況，袁江的生平進行考證，探索袁江山水界畫產(chǎn)生的政治背景、文化背景等。通過對袁江山水界畫作品的品讀、臨摹和研究，以及自身對袁江寫生對象，如浙江杭州錢塘江的實地考察、感悟，探索袁江山水界畫在思想方面、構(gòu)圖方面、選擇題材方面和筆墨設(shè)色等技法方面的審美意境。著重探討創(chuàng)作者對山水界畫創(chuàng)作的態(tài)度和藝術(shù)表現(xiàn)手法，試圖總結(jié)出袁江山水樓閣界畫的藝術(shù)特色和藝術(shù)語言表達方式，以及對后世的山水界畫的影響和創(chuàng)新提出一些具體的看法和意見，使本文的研究在理論與實踐中得以應用和發(fā)展。
[Abstract]:Boundary painting is one of the painting sections in Chinese painting, with pavilions and pavilions as the main objects. The development of world painting is inseparable from the development of architecture, and the development of architecture is closely related to political, economic and other social factors at that time. At the beginning, the painting was just the drawing of the building, which was studied and explored by the painters of all dynasties, and the expression form of the painting was perfected continuously through the art practice. In the early Qing Dynasty, the boundary painting was influenced by the Yuan Dynasty, and the second generation of the Ming Dynasty was not as popular as the Tang and Song dynasties, but when the "literati painting" became popular. But Yuan Jiang based on this popular "literati painting" era with unique painting style of landscape pavilion, will push the boundary painting to a new height in Yuan and Ming dynasties. On the basis of inheriting the tradition of the predecessors, Yuan Jiangshan's paintings of water pavilions and pavilions constantly studied and innovated, and once again developed the art of Chinese paintings. He and his son Yuan Yao founded the Yuan painting School in the painting world of the Qing Dynasty and recorded it in the history of the Qing Dynasty paintings. The purpose of this paper is to study the history of Qing Dynasty, the development of landscape painting, the life of Yuan Jiang, and explore the political background and cultural background of Yuan Jiangshan painting. Through the reading, copying and research of Yuan Jiangshan's waterfront paintings, as well as his own on-the-spot investigation and understanding of Yuan Jiang's sketching objects, such as the Qiantang River in Hangzhou, Zhejiang Province, he explores Yuan Jiangshan's water paintings in the aspects of ideology and composition. Selection of subject matter and ink painting and other techniques such as aesthetic artistic conception. Focusing on the creative attitude and artistic expression of landscape paintings, the author tries to sum up the artistic characteristics and artistic language expression of Yuan Jiangshan's water pavilions. It also puts forward some concrete views and opinions on the influence and innovation of the landscape painting of later generations, which makes the research of this paper be applied and developed in theory and practice.
【學位授予單位】：江西科技師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J205

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本文編號：1939512