本文選題：清代 + 畫論　； 參考：《天津大學(xué)》2014年碩士論文

【摘要】：畫論即繪畫理論的簡(jiǎn)稱,我國古代畫論范疇甚廣,畫理、畫法、畫訣、畫品、畫評(píng)、畫譜、畫鑒、畫詩、畫跋,以及歷代經(jīng)傳文集中有關(guān)論畫之作都可歸結(jié)為畫論。因清代畫論著述數(shù)量甚多,本人將百余篇畫論泛讀之后選取其中53篇作為本文研究對(duì)象。以俞劍華先生編著的《中國古代畫論類編》中的清代51篇畫論為主,輔以潘運(yùn)告編著的《清代畫論》、《清人論畫》、周積寅先生的《中國畫論輯要》,及惲壽平所著的《南田畫跋》、王原祁《麓臺(tái)題畫稿》,共涉獵53篇畫論。畫論中有畫理、畫法、品評(píng),亦有人物、山水、花卉方面的論述,其中蔣驥的《傳神秘要》及丁皋的《寫真秘訣》專談肖像技法、高秉《指頭畫說》專論指頭畫,陸時(shí)化的《書畫說鈴》專講工具、設(shè)色,本文不做重點(diǎn)研究。本文研究重點(diǎn)為花鳥畜獸梅蘭竹菊專論7篇及其余41篇綜合類畫論中的泛論、山水、花卉三大部分。繪畫是古典園林造園的一方面源流。古典園林的發(fā)展與山水畫的發(fā)展亦步亦趨,山水畫的變化影響著古典園林的變化。在我國歷史上,古典園林與山水畫之間的關(guān)系是不可分割的。在清代這一歷史時(shí)期、因?yàn)槲娜藞@林的盛行,故園林和繪畫之間的關(guān)系更為緊密,畫論亦園論、畫境亦園境、畫家亦造園家。園林和繪畫之間的藝術(shù)風(fēng)格、審美情趣等都是相互促進(jìn)、相互影響。清代園林的發(fā)展離不開文人畫家的畫理、畫作。國內(nèi)外對(duì)清朝畫論的研究多集中在美學(xué)領(lǐng)域,但對(duì)于清朝園林及畫論關(guān)系的研究和成果較少,也不成系統(tǒng)。而本文試圖從園林的角度入手,系統(tǒng)研究清朝畫論中的園林審美和園林藝術(shù)。本文研究重點(diǎn)分為三個(gè)方面,第一將從單一要素,山、水、石、屋、木、文六大方面對(duì)畫論進(jìn)行研究,進(jìn)而分析畫論中有關(guān)多種要素組合的景觀營造。第二從人文要素入手,研究畫論中的所體現(xiàn)的山水精神、隱逸文化、文學(xué)藝術(shù)、要素文化、園林活動(dòng)。第三從創(chuàng)作論、章法論、意境論三大方面入手分析畫論中所講到的空間關(guān)系。最后分析清代重要理論人物畫家及他們有關(guān)于園林題材的山水畫。
[Abstract]:Painting theory is the abbreviation of painting theory. In ancient China, the scope of painting theory is very wide, painting theory, painting method, painting formula, painting object, painting evaluation, painting spectrum, painting mirror, painting poem, painting postscript, and the works about painting in the collection of classics and biographies of past dynasties can all be summed up as drawing theory. Because of the large number of paintings in Qing Dynasty, I choose 53 of them as the object of this paper after extensive reading of more than 100 painting theories. The 51 painting theories of Qing Dynasty, compiled by Mr. Yu Jianhua in the Classics of Ancient Chinese painting Theory, are the main works. It is supplemented by Pan Yun-gou 's "painting Theory of the Qing Dynasty", "Qing Man's Theory on painting", Zhou Jiyin's "the main works of Chinese painting Theory", and Yun Shouping's "Nantian painting Postscript", Wang Yuanqi's "the draft of the title of the Qing Dynasty", and the painting of the Qing Dynasty, altogether dabbling in 53 painting theories. In the theory of painting, there are theories of painting, methods of painting, evaluation, and expositions on characters, mountains, rivers and flowers. Among them, Jiang Ji's "to pass on the Mystery" and Ding Gao's "the Secret of Photography" are devoted to the techniques of portraits, and Gao Bing's "finger painting theory" focuses on finger painting. Lu Shi's painting and calligraphy talk about tools, color, this paper does not focus on research. This paper focuses on the general discussion, landscape and flowers in 7 monographs of flowers, birds, animals and animals, Meilan, bamboo and chrysanthemum, and 41 other comprehensive painting theories. Painting is a source of classical gardening. The development of classical garden and landscape painting follow suit, the change of landscape painting affects the change of classical garden. In the history of our country, the relationship between classical garden and landscape painting is inseparable. In this historical period of Qing Dynasty, because of the prevailing of literati gardens, the relationship between garden forest and painting is more close, the painting theory is also the garden theory, the painting landscape is also the garden landscape, and the painter is also the gardener. Garden and painting between the artistic style, aesthetic taste and so on are mutual promotion, mutual influence. The development of gardens in the Qing Dynasty could not be separated from the painting principles and paintings of literati painters. Domestic and foreign studies on the Qing Dynasty painting theory are mostly concentrated in the field of aesthetics, but the research and achievements on the relationship between the Qing Dynasty gardens and the painting theory are less, and they are not systematic. This paper, from the angle of garden, systematically studies the garden aesthetics and garden art in Qing Dynasty painting theory. This paper focuses on three aspects: the first is to study the painting theory from the single element, mountain, water, stone, house, wood and text, and then analyze the landscape construction of the combination of various elements in the painting theory. The second is to study the landscape spirit, seclusion culture, literature and art, factor culture and garden activities in painting theory. The third part analyzes the spatial relationship in painting theory from three aspects: creation theory, constitution theory and artistic conception theory. At last, it analyzes the important theoretical figures of Qing Dynasty and their landscape paintings on the theme of gardens.
【學(xué)位授予單位】：天津大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王梅格;;《苦瓜和尚畫語錄》的藝術(shù)哲學(xué)思想[J];河南教育學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2012年03期

2 何海鋒;;清張庚的畫論思想探析——以《浦山論畫》為例[J];藝術(shù).生活;2011年01期

3 唐s，

本文編號(hào)：2096143