中国山水画中“亭子”形象的美学内涵研究

发布时间：2018-03-23 07:31

本文选题：山水画　切入点：亭子　出处：《南京艺术学院》2014年硕士论文　论文类型：学位论文

【摘要】：亭子外观小巧且四面无墙，在中国传统建筑中是造型最“简陋”的，但就是因为这“简陋”，才使亭子成为与自然最亲近的建筑，并且因为它近自然的特性，亭子的精神价值也得以被最具哲理冥思的中国古代文人不断发掘。因此，在中国文化和历史发展的过程中，围绕亭子积淀了丰富的精神意蕴，“亭子”的形象逐渐成为了一种文化的符号与象征。在中国山水画中，作为建筑点景的亭子因其特殊的画面形象及功能被大量运用到山水画中，伴随着山水画的日益成熟逐渐被赋予了更加明晰和丰富的内涵，在意味深幽的中国山水画中，“亭子”成了“诗意的栖居”。本文从解析建筑亭的造型变化入手，对比各个朝代山水画中出现的亭子形象，剖析其在画面中的形式美感及其对山水画意境表达的贡献。从亭子形象由写实到写意，由具象到意象符号的变化过程中解读“亭子”在中国山水画中独特的美学内涵。
[Abstract]:The pavilion is small in appearance and has no walls on all sides. It is in the traditional Chinese architecture that the pavilion is the most "simple", but it is precisely because of this "simplicity" that the pavilion is the closest to nature, and because of its nature, it is close to nature. The spiritual value of pavilions has also been unearthed by the most philosophical scholars in ancient China. Therefore, in the course of the development of Chinese culture and history, The image of "pavilion" has gradually become a kind of symbol and symbol of culture around the pavilion. In Chinese landscape painting, the pavilion, as a architectural spot, has been widely used in landscape painting because of its special image and function. With the growing maturity of landscape painting, it has been endowed with more clear and rich connotation. In the Chinese landscape painting with deep meaning, "pavilion" has become a "poetic dwelling". Comparing the pavilions in the landscape paintings of different dynasties, analyzing their aesthetic sense of form and their contribution to the expression of artistic conception of landscape painting, from realistic to freehand brushwork, Interpretation of the unique aesthetic connotation of pavilions in Chinese landscape painting in the process of changing from figurative to image symbols.
【学位授予单位】：南京艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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