《后赤壁赋图》与《富春山居图》图式比较研究

发布时间：2018-09-14 16:55

【摘要】：北宋时期乔仲常的代表作《后赤壁赋图》与元四家之首黄公望的代表作《富春山居图》在山水画图式上可以说是既有相似,又有区别。北宋与元代是中国山水画史非常重要的两个时期。两幅画卷作为当时的革新之作,在中国美术史上分别有其特殊的历史地位。本文从这两幅画卷的创新性开始展开讨论,进而列举具体的图式实例进行对比。图式应当包涵以下四个部分：构图形式、形象因子、技法要素和文化背景。论文从图式的走势与趋向、图式的选择与提炼、图式的虚实与远近这三个层面,围绕两幅画卷用图文相结合的方法进行探讨。如果说比较是为了更加深入地了解,那么了解是为了更有效地吸收和利用。文章的最后一部分为指导山水画创作的具体实践而提出了四点需要特别注意的环节：格调要高雅、主题要鲜明、材料要讲究、以及最难的书法用笔。熟悉掌握这四点,会对今后的山水画创作有很大的帮助。
[Abstract]:In the Northern Song Dynasty, Qiao Zhongchang's masterpiece "Fu Chi Bi Fu Chou" and Huang Gongwang's masterpiece, "Fuchun Mountain residence", are both similar and different in landscape pattern. Northern Song Dynasty and Yuan Dynasty were two important periods in the history of Chinese landscape painting. As one of the innovations at that time, the two paintings have their special historical status in the history of Chinese art. This paper starts with the innovation of these two pictures and compares them with concrete schema examples. Schemata should include the following four parts: composition form, image factor, technique element and cultural background. This paper discusses the method of combining two pictures with text from three aspects: the trend and trend of schema, the choice and refinement of schema, the virtual reality and far and near of schema. If comparison is for deeper understanding, then understanding is for more effective absorption and utilization. In the last part of the article, the author puts forward four points that need special attention in order to guide the concrete practice of landscape painting creation: the style should be elegant, the theme should be bright, the material should be particular, and the most difficult calligraphy brush should be used. Familiar with these four points, will be of great help to the future creation of landscape painting.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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