中國傳統(tǒng)山水畫中“明暗”觀念研究.pdf

1、郭建偉中國傳統(tǒng)山水畫中“明暗”觀念研究目錄中文摘要2引言5一、選題意義5二、研究現(xiàn)狀5三、研究方法6第一章“明暗”與傳統(tǒng)山水畫8第一節(jié)“明暗”概述8第二節(jié)傳統(tǒng)山水畫與近現(xiàn)代山水畫中的“明暗”的比較14第二章“明”、“暗”在傳統(tǒng)山水畫中的筆墨特點分析18第一節(jié)“明”與北宗山水的筆墨形態(tài)19第二節(jié)“暗”與南宗山水的筆墨形態(tài)22第三章傳統(tǒng)山水畫中“明暗”觀念的影響27第一節(jié)傳統(tǒng)山水畫“明暗”觀念的歷史價值一27第二節(jié)近現(xiàn)代“明暗”觀念的發(fā)展2

2、8第三節(jié)我的山水畫創(chuàng)作心得31結(jié)語33參考文獻(xiàn)34致謝36揚州大學(xué)學(xué)位論文原創(chuàng)性聲明和版權(quán)使用授權(quán)書37郭建偉中國傳統(tǒng)山水畫中“明暗”觀念研究3AbstractFromancienttimes，thetheoryof”BrighmessandDarkness”isextremelyrich，modempeople’Stheoryof“BrightnessandDarkness”isnotthesamewiththeancientsThu

3、s，inthispaperwechoosethepointofthetheoryof”BrightnessandDarkness”toanalysetechniquesofpredecessors’exquisitepenandink，tracingtheflowThetheoryof?！瓸rightnessandDarkness”wasputforwardbyDongQichangAsliterati，painter，theorist

4、DongQichang，itsmaindrawon，inscriptionsandotherdescendantsafterfinishingtheintegrationoftheessayof”paintingChanshi，”abookThebookinwhichaTibasaid：”Forthedarkdonotwanttodrawthatpersonasfleshoutthehookedgeangle，itistoodarkcl

5、oudscrossthefogCypriotwhoisalso一”Inthisarticleinscriptionsthetheoryof”BrightnessandDarkness”WaSputforwardbyDongQichangintheproposition，andshoweditsstandpointFromthepointofviewoftheinklevelintermsofstyleJinlingZheextensiv

6、ecrazystrange，fiberMeiWuSchooloffollowersofthestateisgraduallyrevealed，bothadvocatedandDongQichang”painteddarkdesire，donotwantthat”thisaconceptistheopposite，Zhe，WuSchoolandtheirfollowersbrushworkincreasinglyreflecttheDon

7、gQichangcalled”Ming”feature，SODongQichangonZhejiang，WuproposedtwovicesfactioncriticismNowadays，thetraditionallandscapepaintinginthe”shade”ofknowledgevaries，affectingthetraditionaloverailgraspofChinesetraditionalpaintingT

8、hisarticleonthe”shade”conceptofChineselandscapepaintingisdividedintofourchaptersdiscuss：IntheQingDynastyWangHuiwasknowntoall，hedidnotagreewithDongQichang‘Sidea，thenheproposeda”paintedshade，suchasbirdstwowingsCanbeneglect

9、ed，andthelightandshade，airNobu”PaintingtheoryHiscollectionofpenandinktechniquesinanorth—souththathistheoryof’’BrightnessandDarkness”Nowadays，Thetheoryof”BrightnessandDarkness”ofChinesetraditionalpainting，affectingthetrad

10、itionaloverallgraspofthehistoryofChinesepaintingThisarticleontheThetheoryof”BrightnessandDarkness”ofChinesetraditionalpaintingisdividedintofourchaptersfordiscussing：FirstlyThetheoryofChinesetraditionalpaintingFromtheorig

11、inofthe”shade”concepttostart，focusingonanalysisandWangHuiDongQichang’Stheoryof”BrightnessandDarkness”，andsummarizeDarkness”Understandthe”lightanddark”afterthe”shade”conceptofChinesetraditionalpaintingandthe”shade”concept