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山水画美学思想对园林意境的影响
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作者 徐军 《科技信息》 2011年第10期259-259,共1页
中国山水画画理及美学思想对中国南北园林的影响,画面具体元素对园林的影响。
关键词 山水画美学思想 园林意境 园林的中国绘画性
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郭熙山水画美学中的道家思想 被引量:2
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作者 刘佳昕 《美与时代(美术学刊)(中)》 2023年第1期39-41,共3页
郭熙是北宋著名画家、绘画理论家,他的山水画论基于儒家文化,同时蕴含了明显的道家思想,道家文化色彩极为显著。通过探究《林泉高致》中对后世影响较为深远的绘画理论,将郭熙提出的“林泉之心”审美心胸命题、“三远”创作手法以及“可... 郭熙是北宋著名画家、绘画理论家,他的山水画论基于儒家文化,同时蕴含了明显的道家思想,道家文化色彩极为显著。通过探究《林泉高致》中对后世影响较为深远的绘画理论,将郭熙提出的“林泉之心”审美心胸命题、“三远”创作手法以及“可行、可望、可居、可游”的山水画价值理论作为研究基础,分析其思想理论源头,阐述郭熙美学思想与道家思想的联系,并试图挖掘以山水画为代表的中国传统艺术所体现的深层意蕴,让当代人更好地理解传统艺术之美。 展开更多
关键词 郭熙 《林泉高致》 山水画美学 道家思想
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宗炳画论:山水画美学的先驱与典范
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作者 花仕旺 《安徽理工大学学报(社会科学版)》 2015年第4期92-95,共4页
宗炳是中国早期山水画家之杰出代表,也是中国山水画美学之先驱,他最早将"受佛家思想浸泡的老庄道家思想"贯彻到山水画创作和山水画论中去,他的《画山水序》不仅是中国最早的山水画论,更是中国山水画美学的典范之作,对中国山... 宗炳是中国早期山水画家之杰出代表,也是中国山水画美学之先驱,他最早将"受佛家思想浸泡的老庄道家思想"贯彻到山水画创作和山水画论中去,他的《画山水序》不仅是中国最早的山水画论,更是中国山水画美学的典范之作,对中国山水画的创作和美学特征的形成都产生了深远的影响。 展开更多
关键词 山水画美学 水画 水画论 怀味象 美心胸
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中国山水画论如何回应“如其本然地欣赏自然”命题
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作者 赵卿 《求是学刊》 CSSCI 北大核心 2015年第4期124-131,共8页
当代环境美学一直高度关注对自然的审美欣赏问题。齐藤百合子的《如其本然地欣赏自然》一文旨在引导人们欣赏自然的本然面目,即真实的自然或自然本身。虽然她对艾伦·卡尔森的自然审美理论有所改进,但其研究范围仍然囿于科学认知主... 当代环境美学一直高度关注对自然的审美欣赏问题。齐藤百合子的《如其本然地欣赏自然》一文旨在引导人们欣赏自然的本然面目,即真实的自然或自然本身。虽然她对艾伦·卡尔森的自然审美理论有所改进,但其研究范围仍然囿于科学认知主义,依然没有完全回答如何"如其本然地欣赏自然"这个核心问题。中国山水画美学包含着一套比较系统的自然审美思想,诸如"真"的本体论根源(生生本体论)、"体真"的途径(澄怀味象)、"写真"的方法(以一管之笔,拟太虚之体)。由此可见,中国自然审美思想可以从一个侧面比较全面地回答"如其本然地欣赏自然"问题,对当代环境美学构建的意义与价值是显而易见的。 展开更多
关键词 环境美学 如其本然性 科学认知主义 自然的真实性 中国山水画美学
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Discussion on the Inheritance and Development of Taoism's Simple Aesthetics Spirit in Contemporary Landscape Paintings
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作者 Jian ZHAO 《International Journal of Technology Management》 2013年第10期111-113,共3页
Nowadays, the landscape paintings dominated by Taoism' s thoughts are highly controversial among people in the aspects of theory and practice along with the constantly intensified collision and blending of the easter... Nowadays, the landscape paintings dominated by Taoism' s thoughts are highly controversial among people in the aspects of theory and practice along with the constantly intensified collision and blending of the eastern culture and the western culture, and the interaction of arts. In the process of development from the tradition to the modem times, the original source of contemporary landscape paintings' artistic spirit should be traced, and the corresponding historical stages should be objectively and rationally analyzed, so that contemporary landscape paintings can better adapt to the present conditions, and then their real existence and creative development can be really realized. 展开更多
关键词 TAOISM Landscape Paintings Simplicity and Plain INHERITANCE the Contemporary Times
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Research on the Landscape Painting in Ming and Qing Dynasties of the Art of Wu School
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作者 huang huanchen 《International Journal of Technology Management》 2016年第9期10-12,共3页
In this paper, we conduct research on the landscape painting in Ming and Qing dynasties of the art of Wu School. The Wu School of art is full of creativity, they worship nature, between large vigorous refined landscap... In this paper, we conduct research on the landscape painting in Ming and Qing dynasties of the art of Wu School. The Wu School of art is full of creativity, they worship nature, between large vigorous refined landscape painting in the real world with fast red green courtyard, this spirit of the innovation to future generations of artists with great inspiration, Wu school opened up the artistic development for future generations, direct and profound infi uence after the landscape painting and flower and bird painting. Today, we are in the pursuit of the traditional Chinese painting of change, innovation, modernization, “Wu door school” this group of literati painter to do a historical retrospect that is a positive significance. Based on this historical time, we analyze the corresponding theories to provide the systematic research that will be meaningful. 展开更多
关键词 Landscape Painting Ming and Qing Dynasties of the Art Wu School.
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