【摘要】：十七、十八世紀(jì)中歐文化經(jīng)濟(jì)交流日漸頻繁,西方的繪畫(huà)技法也漸漸開(kāi)始影響清宮繪畫(huà)的面貌。故宮倦勤齋西四問(wèn)的通景花鳥(niǎo)畫(huà)和天頂畫(huà),就是西洋畫(huà)風(fēng)對(duì)中國(guó)宮廷文化藝術(shù)影響的典型案例。 筆者將本篇文章研究的關(guān)注點(diǎn)放在了故宮倦勤齋的天頂畫(huà)和通景花鳥(niǎo)畫(huà)的畫(huà)面呈現(xiàn)與繪畫(huà)技巧上,結(jié)合當(dāng)時(shí)的歷史背景,分別將其與中國(guó)傳統(tǒng)繪畫(huà)和歐洲本土繪畫(huà)進(jìn)行對(duì)比,以對(duì)其進(jìn)行詳細(xì)全面的探究,并試圖以此為例窺探“西畫(huà)東漸”對(duì)中國(guó)傳統(tǒng)繪畫(huà)的影響和意義。
[Abstract]:In the 17th and 18th century, the cultural and economic exchanges between China and the EU became more frequent, and Western painting techniques began to influence the appearance of Qing Palace painting. The Imperial Palace is a typical example of the influence of Western painting style on Chinese palace culture and art. The author puts the focus of this article on the presentation and painting skills of the celadon painting and the flower-and-bird painting of The Imperial Palace, compares them with the traditional Chinese painting and the native European painting, and compares them with the traditional Chinese painting and the native European painting, in combination with the historical background of the time. Taking it as an example, this paper attempts to explore the influence and significance of "Western painting eastward" on Chinese traditional painting.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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本文編號(hào)：2328526