趙孟頫畫跋實(shí)踐中“書畫同源”思想研究.pdf

1、分類號(hào)UDC埸州大譬YANGZHOUUNIVERSITY學(xué)號(hào)叢!墾Q旦墨璺密級(jí)一：碩士學(xué)位論文(學(xué)術(shù)學(xué)位)趙孟順畫跋實(shí)踐中“書畫同源”思想研究王芳指導(dǎo)教師姓名：室』堊生割整撞，揚(yáng)劌太生，婆菱揚(yáng)叢，22魚(yú)QQ仝申請(qǐng)學(xué)位級(jí)別：亟學(xué)科專業(yè)名稱：差盔堂論文提交日期：2Q!墨生墨旦2墨旦論文答辯日期；踅曼晝生亙旦至旦、學(xué)位授予單位：塹；!：!i盤望學(xué)位授予日期：踅三墨生魚(yú)旦墊旦二答辯委員會(huì)主席：。、醫(yī)堂亡塾援一2018年6月AbstractThe

2、titlequestionisanimportantpartofChinesepaintingItscalligraphyhasitsownindependenceandcoordinationwithpaintingTheYuanDynastyistheprosperousperiodofthedevelopmentofthetitleThispaperfocusesonZhaoMengfu’Spaintingtitleandfocu

3、sesontherelationshipbetweenthepaintingandthepaintingZhaoMengfu(1254—1322)，afigureoftheYuanDynasty’SunanimousSuccessAstheproponentandpractitionerofpaintingtheory，themostrepresentativeoneisthetheoryof“homologism”Inhispaint

4、ingpractice，herealizestheintrinsicrelationshipbetweencalligraphyandpainting：oneofthecalligraphyinfluencesthepaintingmethod；thesecondpaintingmethodinfluencescalligraphyTheresearchofZhaoMengfubyhispredecessorswasbasedonthe

5、one—waystudyOfhowhiscalligraphyinfluencesthepaintingmethodHeintegratedthecalligraphybrushworkintothepainting，andusedcalligraphytoenrichtheexpressionofthepaintingThisarticlefromtheperspectiveoftwo—way，focusingonthestudyof

6、itsinfluencecalligraphycalligraphy，thespeciflcperformanceof：titlefontchoice，thelocationofthepaintings，thenumberofpaintingsfromthemoneytothepoorandthentothelongsectionoftheevolution，strokechangesandSOonThroughtheexplorati

7、onandpracticeofZhaoMengfu，welearnedaboutthecorekernelofthetheorYof‘‘paintingandpaintinghomology”Atthesametime，itpromotedthefullintegrationofpoetry，calligraphyandpainting，andpushedChineseliteratipaintingtothetopofartThisa

8、rticleintendstousetheliteratureanalysismethod，imageanalysisandstyleanalysiscomprehensiveresearchmethodsandworkanalysismethodstocollectalargenumberofZhaoMengfu’SpaintingsandselectpaintingsofdifferentthemesandstylesTheimag

9、edataisanalyzedandresearched，andtheideashiddeninthedeeplayersoftheimageareexploredTheauthorbelievesthatonlybyclarifyingtheformationoftheconceptof“paintingandpaintinghomologous’’andtheevolutioninthecourseofpracticecanwecr