清代画论中的园林观研究

发布时间：2018-07-04 12:53

本文选题：清代 + 画论　；参考：《天津大学》2014年硕士论文

【摘要】：画论即绘画理论的简称,我国古代画论范畴甚广,画理、画法、画诀、画品、画评、画谱、画鉴、画诗、画跋,以及历代经传文集中有关论画之作都可归结为画论。因清代画论著述数量甚多,本人将百余篇画论泛读之后选取其中53篇作为本文研究对象。以俞剑华先生编着的《中国古代画论类编》中的清代51篇画论为主,辅以潘运告编着的《清代画论》、《清人论画》、周积寅先生的《中国画论辑要》,及恽寿平所著的《南田画跋》、王原祁《麓台题画稿》,共涉猎53篇画论。画论中有画理、画法、品评,亦有人物、山水、花卉方面的论述,其中蒋骥的《传神秘要》及丁皋的《写真秘诀》专谈肖像技法、高秉《指头画说》专论指头画,陆时化的《书画说铃》专讲工具、设色,本文不做重点研究。本文研究重点为花鸟畜兽梅兰竹菊专论7篇及其余41篇综合类画论中的泛论、山水、花卉三大部分。绘画是古典园林造园的一方面源流。古典园林的发展与山水画的发展亦步亦趋,山水画的变化影响着古典园林的变化。在我国历史上,古典园林与山水画之间的关系是不可分割的。在清代这一历史时期、因为文人园林的盛行,故园林和绘画之间的关系更为紧密,画论亦园论、画境亦园境、画家亦造园家。园林和绘画之间的艺术风格、审美情趣等都是相互促进、相互影响。清代园林的发展离不开文人画家的画理、画作。国内外对清朝画论的研究多集中在美学领域,但对于清朝园林及画论关系的研究和成果较少,也不成系统。而本文试图从园林的角度入手,系统研究清朝画论中的园林审美和园林艺术。本文研究重点分为三个方面,第一将从单一要素,山、水、石、屋、木、文六大方面对画论进行研究,进而分析画论中有关多种要素组合的景观营造。第二从人文要素入手,研究画论中的所体现的山水精神、隐逸文化、文学艺术、要素文化、园林活动。第三从创作论、章法论、意境论三大方面入手分析画论中所讲到的空间关系。最后分析清代重要理论人物画家及他们有关于园林题材的山水画。
[Abstract]:Painting theory is the abbreviation of painting theory. In ancient China, the scope of painting theory is very wide, painting theory, painting method, painting formula, painting object, painting evaluation, painting spectrum, painting mirror, painting poem, painting postscript, and the works about painting in the collection of classics and biographies of past dynasties can all be summed up as drawing theory. Because of the large number of paintings in Qing Dynasty, I choose 53 of them as the object of this paper after extensive reading of more than 100 painting theories. The 51 painting theories of Qing Dynasty, compiled by Mr. Yu Jianhua in the Classics of Ancient Chinese painting Theory, are the main works. It is supplemented by Pan Yun-gou 's "painting Theory of the Qing Dynasty", "Qing Man's Theory on painting", Zhou Jiyin's "the main works of Chinese painting Theory", and Yun Shouping's "Nantian painting Postscript", Wang Yuanqi's "the draft of the title of the Qing Dynasty", and the painting of the Qing Dynasty, altogether dabbling in 53 painting theories. In the theory of painting, there are theories of painting, methods of painting, evaluation, and expositions on characters, mountains, rivers and flowers. Among them, Jiang Ji's "to pass on the Mystery" and Ding Gao's "the Secret of Photography" are devoted to the techniques of portraits, and Gao Bing's "finger painting theory" focuses on finger painting. Lu Shi's painting and calligraphy talk about tools, color, this paper does not focus on research. This paper focuses on the general discussion, landscape and flowers in 7 monographs of flowers, birds, animals and animals, Meilan, bamboo and chrysanthemum, and 41 other comprehensive painting theories. Painting is a source of classical gardening. The development of classical garden and landscape painting follow suit, the change of landscape painting affects the change of classical garden. In the history of our country, the relationship between classical garden and landscape painting is inseparable. In this historical period of Qing Dynasty, because of the prevailing of literati gardens, the relationship between garden forest and painting is more close, the painting theory is also the garden theory, the painting landscape is also the garden landscape, and the painter is also the gardener. Garden and painting between the artistic style, aesthetic taste and so on are mutual promotion, mutual influence. The development of gardens in the Qing Dynasty could not be separated from the painting principles and paintings of literati painters. Domestic and foreign studies on the Qing Dynasty painting theory are mostly concentrated in the field of aesthetics, but the research and achievements on the relationship between the Qing Dynasty gardens and the painting theory are less, and they are not systematic. This paper, from the angle of garden, systematically studies the garden aesthetics and garden art in Qing Dynasty painting theory. This paper focuses on three aspects: the first is to study the painting theory from the single element, mountain, water, stone, house, wood and text, and then analyze the landscape construction of the combination of various elements in the painting theory. The second is to study the landscape spirit, seclusion culture, literature and art, factor culture and garden activities in painting theory. The third part analyzes the spatial relationship in painting theory from three aspects: creation theory, constitution theory and artistic conception theory. At last, it analyzes the important theoretical figures of Qing Dynasty and their landscape paintings on the theme of gardens.
【学位授予单位】：天津大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】