本文選題：皴法 + 側(cè)鋒�。� 參考：《華東師范大學》2017年碩士論文

【摘要】：本文的研究內(nèi)容為傳統(tǒng)山水畫中皴筆的產(chǎn)生原因、過程、方法,以及皴筆是如何從一種單純的技術手段上升成為皴法,從無法入有法,最終形成一套具備自身獨立的畫理與畫法的繪畫程式。筆者主要通過分析皴法與書法用筆的中側(cè)之間的相互影響、皴法與中國文化觀念之間的相互聯(lián)系、皴法在中國繪畫理論史上于各個朝代之間認知程度的側(cè)重與演進。從它的誕生,到它與中國文化的結(jié)合而形成畫理,再到關于它具體畫法的形成、完善、規(guī)范,以歷史跨度為標尺,重新衡量皴法作為山水畫第一大法的真正內(nèi)核。以此希望矯正在山水畫皴法教學領域中出現(xiàn)的錯誤與偏差,以及提出對一些普遍問題的解決意見。希望本文能夠從理論落實到實踐,為皴法領域的進一步研究提供寶貴的參考,也能為當今中國文化熱潮下的山水畫教育給予正確的指導。
[Abstract]:The research content of this paper is the reason, process, method and how to rise from a simple technique to a chapping method in traditional landscape painting. Finally, a set of painting program with its own independent painting theory and painting method was formed. The author mainly analyzes the interaction between texturing method and the middle side of calligraphy pen, the interrelation between chapping method and Chinese cultural concept, and the emphasis and evolution of the cognitive degree between different dynasties in the history of Chinese painting theory. From its birth, to its combination with Chinese culture and to the formation, perfection and standardization of its specific drawing methods, the text re-measures the chapping method as the real core of the first law of landscape painting. In this way, we hope to correct the errors and deviations in the field of landscape painting chapping teaching, and put forward some suggestions to solve some common problems. I hope this paper can be carried out from theory to practice to provide valuable reference for further research in the field of chapping method, but also to give correct guidance for the landscape painting education under the upsurge of Chinese culture.
【學位授予單位】：華東師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212

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本文編號：1963008