明末民窑青花山水构图艺术特征研究

发布时间：2018-04-27 00:21

本文选题：明末 + 民窑青花山水　；参考：《景德镇陶瓷学院》2010年硕士论文

【摘要】： 明末民窑青花山水画的构图中营造的空间关系,和当时官窑山水瓷画一样,基本涵盖传统国画山水的构图规律。本文梳理出“S型律动”、“藏露开合”、“纵横交错”、“三段平远”、“段叠”、“近景”、“远景”等七种山水构图技法,及山水与诗书画结合、边饰点缀等使画面更加丰富的布局方法;对构图中的表现元素部分——点、线、面、色彩等内容进行了深入地研究和探讨;使明末民窑青花山水画表现出自由淡泊、欢愉自得的意境及其隐含的社会现实的再现;本文还具体分析了受当时社会个性解放风尚及国内外对瓷器需求量加大的影响下逐步形成的民窑青花山水画面表现风格。旨在通过展望融合明末民窑青花山水画自由、洒脱的构图及表现形式之精髓,创新出符合时代审美情趣的民间青花陶瓷艺术。
[Abstract]:At the end of Ming Dynasty, the spatial relationship created in the composition of the blue and white landscape paintings of the Ming Dynasty, like the porcelain paintings of the official kiln at that time, basically covered the law of landscape composition of the traditional Chinese painting. This paper combs out seven kinds of landscape composition techniques, such as "S-type rhythm", "hiding open and closing", "crisscross", "three sections of Pingyuan", "overlapping of sections", "closeness", "Vision" and so on, and the combination of landscape and poetry, calligraphy and painting, etc. The layout method of embellishment and so on makes the picture more abundant; it deeply studies and discusses the content of the expressive elements in the composition such as points, lines, surfaces, colors, etc., so that the landscape painting of the Ming Dynasty kiln blue and white flowers shows freedom and indifference. The artistic conception of happiness and its implied reappearance of social reality; this article also specifically analyzes the folk kiln blue and white landscape performance style gradually formed under the influence of the social individuality liberation fashion and the increasing demand for porcelain at home and abroad. The purpose of this paper is to combine the free, free composition and expression form of the folk kiln blue and white landscape painting in the late Ming Dynasty, and to innovate the folk blue and white ceramic art which accords with the aesthetic taste of the times.
【学位授予单位】：景德镇陶瓷学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K876.3

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