發(fā)布時間：2018-06-24 23:36

  本文選題：界畫 + 建筑��； 參考：《江西科技師范大學(xué)》2013年碩士論文

【摘要】：縱觀中國古代畫論中，界畫常常是被擺在一個“匠人所為”的位置上，被認為只是一種繪畫的技巧并無氣韻可言，此等的論斷不免是對界畫這一古老藝術(shù)門類的偏見和誤解。實際上，在古代繪畫歷史的發(fā)展進程中，界畫多數(shù)是為畫家們所接受和繪制的，甚至是為宮廷及畫院所賞識和提倡，有過其光輝繁榮的歷史時期。而畫論之中對界畫的提及卻是只言片語，并沒有針對性的做專門研究。 與水墨寫意畫的逸筆草草不求形似相區(qū)別，，界畫追求的是一種構(gòu)筑于規(guī)矩法度和筆墨意趣之間的獨特審美。本文旨在重新梳理界畫的歷史淵源和發(fā)展脈絡(luò)，嘗試著系統(tǒng)的對其有所新的認識；通過從其本身的藝術(shù)特色以及她對傳統(tǒng)文化的體現(xiàn)等方面，對其獨特的審美內(nèi)涵作出分析和研究。筆者僅希望能借助本文的研究，能使得更多的藝術(shù)家和民眾對界畫這門古老的藝術(shù)門類有所全面的認識和了解，同時能對更多的參與傳承和發(fā)展界畫藝術(shù)的同路人有所幫助。以更好的實現(xiàn)界畫藝術(shù)在當(dāng)今時代再度重現(xiàn)光輝。
[Abstract]:In the ancient Chinese painting theory, the boundary painting is often placed in the position of "the craftsman". It is thought that only a kind of painting skill has no rhyme. This judgment is not only the prejudice and misunderstanding of the ancient art category of boundary painting. In fact, in the course of the development of ancient painting history, the boundary painting is mostly for the painters. The acceptance and drawing, even for the court and the painting academy, had its glorious and prosperous historical period. And the reference to the painting in the painting theory was only a few words, and there was no specific research on it.
The purpose of this article is to re comb the historical origin and development context of the painting, and try to make a new understanding of it, through its own artistic features and her traditional text. The author hopes that more artists and people can have a comprehensive understanding of the ancient art category of boundary painting, and can help more people who are involved in the inheritance and development of the art of art. Well, the realization of the art of painting is reappearing again in today's era.
【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

【共引文獻】

相關(guān)期刊論文 前10條

1 李路;;雜谷腦河下游羌族聚落選址探討[J];四川建筑科學(xué)研究;2008年01期

2 陳牧川;;開悟的空間——漢傳佛教宗教空間研究與分析[J];四川建筑科學(xué)研究;2010年03期

3 朱雪梅;王國光;林W毠

本文編號：2063495