关于山水画理论苍润之“苍”的论述

发布时间：2018-04-14 08:38

本文选题：苍润 + 苍　；参考：《西安美术学院》2014年硕士论文

【摘要】：本文主要论述传统山水画理论苍润中的“苍”。文章从笔墨、意境以及“苍”的形迹角度出发，进行一系列的探索和讨论。文章第一部分主要论述本文讨论“苍”的原因，即从自然角度、传统理论以及时代背景来说明本论文论述山水画“苍”的原因。文章的第二部分论述的是传统山水画中“苍”的形迹，这也是本论文论述的重点。从形迹的角度说明山水画“苍”的发展，可以归纳为涩、毛、焦的递进关系，也辅助说明“苍”是一直相对于“润”存在，并一直起着基础辅助作用的。文章第三部分主要论述山水画“苍”的现实意义，并进行深层次的探索。其中，一种是山水画“苍”的纯粹表现途径，，焦的笔墨或悲凉意境的营造，或者是在传统意义上的继承发展；另一种是结合当下的几种艺术现象说明山水画“苍”在当下语言里可能存在的形式。
[Abstract]:This article mainly discusses the "Cang" in the theory of traditional landscape painting.From the perspective of ink and ink, artistic conception and "Cang", this paper makes a series of exploration and discussion.The first part of the article mainly discusses the reasons of the discussion of "Cang", that is, from the natural point of view, the traditional theory and the background of the times to explain the reasons of this paper on landscape painting "Cang".The second part of the article discusses the "Cang" in traditional landscape painting, which is also the focus of this paper.The development of landscape painting "Cang" can be summed up as acerbity, Mao, Jiao's progressive relationship, and auxiliary explanation that "Cang" has always existed relative to "run", and has always played a basic auxiliary role.The third part mainly discusses the realistic significance of landscape painting "Cang", and carries on the deep level exploration.Among them, one is the pure expression way of landscape painting "Cang", the construction of Jiao's pen and ink or the sad mood, or the inheritance and development in the traditional sense;The other is to explain the possible form of landscape painting in the present language.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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