传统山水画的皴法研究

发布时间：2018-06-01 05:25

本文选题：皴法 + 侧锋　；参考：《华东师范大学》2017年硕士论文

【摘要】：本文的研究内容为传统山水画中皴笔的产生原因、过程、方法,以及皴笔是如何从一种单纯的技术手段上升成为皴法,从无法入有法,最终形成一套具备自身独立的画理与画法的绘画程式。笔者主要通过分析皴法与书法用笔的中侧之间的相互影响、皴法与中国文化观念之间的相互联系、皴法在中国绘画理论史上于各个朝代之间认知程度的侧重与演进。从它的诞生,到它与中国文化的结合而形成画理,再到关于它具体画法的形成、完善、规范,以历史跨度为标尺,重新衡量皴法作为山水画第一大法的真正内核。以此希望矫正在山水画皴法教学领域中出现的错误与偏差,以及提出对一些普遍问题的解决意见。希望本文能够从理论落实到实践,为皴法领域的进一步研究提供宝贵的参考,也能为当今中国文化热潮下的山水画教育给予正确的指导。
[Abstract]:The research content of this paper is the reason, process, method and how to rise from a simple technique to a chapping method in traditional landscape painting. Finally, a set of painting program with its own independent painting theory and painting method was formed. The author mainly analyzes the interaction between texturing method and the middle side of calligraphy pen, the interrelation between chapping method and Chinese cultural concept, and the emphasis and evolution of the cognitive degree between different dynasties in the history of Chinese painting theory. From its birth, to its combination with Chinese culture and to the formation, perfection and standardization of its specific drawing methods, the text re-measures the chapping method as the real core of the first law of landscape painting. In this way, we hope to correct the errors and deviations in the field of landscape painting chapping teaching, and put forward some suggestions to solve some common problems. I hope this paper can be carried out from theory to practice to provide valuable reference for further research in the field of chapping method, but also to give correct guidance for the landscape painting education under the upsurge of Chinese culture.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

【参考文献】