詹景鳳繪畫鑒賞觀及其思想研究

1、南京藝術(shù)學(xué)院碩士學(xué)位論文 分類號： 密級： UDC： 學(xué)號： M1204023 碩 士 學(xué) 位 論 文 詹景鳳繪畫鑒賞觀 詹景鳳繪畫鑒賞觀及其思想 及其思想研究 研究 研究生姓名： 王廣維 王廣維 導(dǎo)師姓名： 張曼華 張曼華 副教授 副教授 申請學(xué)位級別 碩士學(xué)位 碩士學(xué)位 學(xué)科專業(yè)名稱 美術(shù)學(xué) 美術(shù)學(xué) 論文提交日期 2015 201

2、5 年 5 月 7 日 論文答辯日期 2015 2015 年 5 月 14 14 日 學(xué)位授予單位 南京藝術(shù)學(xué)院 南京藝術(shù)學(xué)院 學(xué)位授予日期 2015 2015 年 6 月 答辯委員會主席 顧丞峰 顧丞峰 評 閱 人 2015 年 5 月 8 日 中文摘要 中文摘要 南京藝術(shù)學(xué)院碩士學(xué)位論文 Zhan Jingfeng, a Chinese painting and cal

3、ligraphy artist of the middle and late Ming dynasty, was also a notable connoisseur at his time. Instead of collections of paintings, he left us quantities of works on art appreciation with his distinctive theories. Base

4、d on his practice of painting appreciation, he enriched the traditional painting aesthetic criteria with new theories; he explored the appreciation theories of art from “brush using” and “facsimile” and he offered his or

5、iginal ideas. Meanwhile, he offered rational criticism on painting circle of the late Ming dynasty. People of that time tended to value the Yuan instead of the Song paintings, and belittle the Zhejiang school of painters

6、. Zhan disapproved of this general conduct and advocated that the dispute over painting styles and school of painters should be treated fair and objectively. Zhan’s objective views and pertinent criticism on the painting

7、s of his time manifested his personal value and enhanced the painting philosophy of the Ming dynasty. The author, by combing, analyzing and summarizing Zhan’s painting theories in the perspective of Zhan’s painting appre

8、ciation practice, gave his own opinions about Zhan’s values of painting appreciation and made definite the position and influence of Zhan Jingfeng on the history of Chinese painting appreciation. Keywords： Zhan Jingfe

9、ng, values of appreciation, aesthetic criteria, exploration of painting theories，the consciousness of criticism 目 錄 中文摘要 中文摘要． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ． ．