- 无标题文档
查看论文信息

论文题名(中文):

 平淡 恬静 写实 求真--论京江画派的艺术特色    

作者:

 章紫燕    

学号:

 40610149    

论文语种:

 中文    

学生类型:

 硕士    

学校:

 中央美术学院    

院系:

 其他学院    

专业:

 美术学(中国画)    

研究方向:

 中国画意向造型和技法研究    

第一导师姓名:

 李洋    

论文完成日期:

 2007-06-25    

论文题名(外文):

 wateriness,quiet,write or pant realastically    

关键词(中文):

 京江画派 米家山水 笪重光 张崟 实景山水 隐逸文化    

关键词(外文):

 Jingjiang School Mi’s Landscape Chongguang’s Huaquan Zhang Yin natural set of landscapes cultures of secluded leisure    

论文摘要(中文):
中文摘要 与同一时期的扬州画派、金陵画派相比,京江画派的历史地位和艺术影响貌似逊色很多,其实,这是大家对京江画派了解甚少的缘故。在深入研究中,京江画派的艺术主张、艺术风格、文化背景、指导思想、艺术价值和异于其他画派的独特性被重新解读,从而,越来越得到大家的肯定。 回顾镇江的艺术历史,我们不难发现:镇江的绘画传统本来就颇有渊源。从初唐开创了泼墨山水技法的王洽;到热爱京江山水、创作出水墨淋漓的“米家山水”的北宋二米、南宋赵芾;再到元代郭天锡,无不沿袭着“逸品”的风格。明清时代,京江画坛更是人才辈出,受笪重光《画荃》的启发,王文治、潘恭寿、张崟等本邑画家,创造出描写家乡山水的“实景山水”,人称“京江画派”。作为领袖的张崟,确立了画派的指导思想:“师法造化、自以为法”,从而把镇江的书画艺术推向了一个高峰。但是,由于过分地强调地方情结,再加上隐逸文化的濡染,京江画派的传播面受到了局限,于是,迅速从绚烂、平实走向了平淡、衰弱。 关键词:京江画派 米家山水 笪重光 张崟 实景山水 隐逸文化
摘要(外文):
Abstract Abstract: Compared with the Yangzhou School and Jingling School contemporaneously, Jingjiang School seems to be less developed in the aspects of historical position and artistic effects. Actually, this might attribute to the limited and less familiarity with the multitude. During the further research, the artistic opinions and style, the cultural background, the guiding ideology and the artistic values in Jingjiang School which differs with other schools are reinterpreted. Therefore, it receives more and more affirmations. Reviewing the artistic history of Zhenjiang, it is not hard to find that the painting tradition of Zhenjiang has originally its own sources. From Wang Qia who invented the techniques of splitting drawing of landscapes to the Two Mi during the North Song dynasty who loved the landscapes of Zhengjiang earnestly and invented water-ink painting from inhibition which is called Mi’s Landscape; during the South Song dynasty, from Zhao Pei to Guo Tianxi, all of them follow the style of “Leisure Taste”. In the dynasty of Ming and Qing, people of talent come forward in large numbers in the field of Jingjiang School. Inspired by Dan Chongguang’s Huaquan, some native painters such as Wang Wenzhi, Pan Gongshou, Zhang Yin and so on who invented “natural set of landscapes” which portrays the landscapes of their hometown. And they are called the Jingjiang Shool. As the chief character, Zhang Yin ascertained the guiding ideology of their school as “Imitating the Nature and following one’s own rules”. Thus he advanced the art of painting and calligraphy in Zhengjiang to another pinnacle. However, due to the over-emphasis on local complex, also pulsed by the affections of cultures of secluded leisure, the spreading of Jingjiang Shool suffered limitations. Therefore, it transferred from floweriness to insipidity, from objectivity to faintness. Keywords: Jingjiang School; Mi’s Landscape; Chongguang’s Huaquan; Zhang Yin; natural set of landscapes; cultures of secluded leisure
馆藏号:

 200660003    

开放日期:

 2007-06-25    

无标题文档