【摘要】：繪畫思想和審美風(fēng)氣直接關(guān)系到繪畫的成果。唐代兼容并包的文化政策，自然野趣的審美風(fēng)氣，造就大氣恢弘的繪畫成就；宋代內(nèi)省法度的繪畫思想，，內(nèi)斂含蓄的審美風(fēng)氣，形成了清麗雅致、工寫相宜藝術(shù)魅力。本文通過歸納整理唐宋花鳥畫歷史背景、畫家、流派來分析兩個朝代的繪畫思想和審美風(fēng)氣，更好地了解和掌握唐宋花鳥畫的發(fā)展歷程，借以推動現(xiàn)代花鳥畫的創(chuàng)作和實踐。
[Abstract]:Painting ideas and aesthetic atmosphere directly related to the results of painting. The inclusive cultural policy of the Tang Dynasty, the natural taste of wild taste, and the magnificent achievement of painting, and the artistic charm of artistic charm in the Song Dynasty are formed by the painting thought of the law of the Song Dynasty and the esthetic atmosphere of the inner introspection of the Song Dynasty. This paper analyzes the painting thought and aesthetic trend of the two dynasties by summing up the historical background of flower and bird painting in Tang and Song dynasties, painters and schools, so as to better understand and master the development course of flower and bird painting in Tang and Song dynasties, so as to promote the creation and practice of modern flower and bird painting.
【學(xué)位授予單位】：江西科技師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前1條

1 李臣英;兩宋時期花鳥畫的承繼與開拓[J];宜賓學(xué)院學(xué)報;2002年05期

本文編號：2290521