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乡邦意识、画学传承与美术教育——以民国时期无锡美专的办学活动为例
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作者 郭林林 《美育学刊》 2024年第5期112-120,共9页
清末民初,无锡一地画学人才鼎盛,涌现了吴观岱、丁宝书、胡汀鹭、贺天健、钱松喦、徐悲鸿等一批近代画史上的书画大家。其中,胡汀鹭、贺天健、钱松喦等为发展无锡乡邦画学传统,于1925年创办了无锡美术专门学校。该校以无锡本地画家为班... 清末民初,无锡一地画学人才鼎盛,涌现了吴观岱、丁宝书、胡汀鹭、贺天健、钱松喦、徐悲鸿等一批近代画史上的书画大家。其中,胡汀鹭、贺天健、钱松喦等为发展无锡乡邦画学传统,于1925年创办了无锡美术专门学校。该校以无锡本地画家为班底开展现代美术教育,造就美术专门人才。然囿于各种原因,无锡美专在创办五年后停办,并逐渐消失于近现代美术教育史中。通过文献梳理与察访,得以重溯无锡美专的办学历程,还原这一近代美术教育史中的“失踪者”与现代国画教学的先驱面貌。 展开更多
关键词 画学传统 教育 无锡美专 胡汀鹭
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传统画学中的“体道”理路与心性修养
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作者 朱剑 《中国文艺评论》 CSSCI 2021年第10期69-78,共10页
传统画学中的"体道"问题深受传统哲学中心性修养思想的影响。在其影响下,传统画学中的"体道"因不同哲学流派的心性修养思想而主要分为道家和儒家两条理路。进言之,两条"体道"理路既有重合也有不同,其中... 传统画学中的"体道"问题深受传统哲学中心性修养思想的影响。在其影响下,传统画学中的"体道"因不同哲学流派的心性修养思想而主要分为道家和儒家两条理路。进言之,两条"体道"理路既有重合也有不同,其中儒家理路相对来说更具实操性,它奠定了一条"下学而上达"的"体道"进路,继而通过这条进路完善了画学中的"人品"内涵,将画家的人生境界纳入"体道"所需的条件,从而保证了心性与境界的统一。 展开更多
关键词 传统 心性 修养 体道 人生境界
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“三理”与中国传统画学的写形观念
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作者 顾平 《美术观察》 北大核心 2024年第1期13-15,共3页
中国传统画学作为中国传统文化视觉表征的理论系统,俨然建构出自主的“三大体系”,我们应努力去发掘、阐释并实现创造性转化。而作为理论基础的“话语体系”,由造化、心源、传统与笔墨、写意构成基本范畴,进而延展出观察、塑形、置陈布... 中国传统画学作为中国传统文化视觉表征的理论系统,俨然建构出自主的“三大体系”,我们应努力去发掘、阐释并实现创造性转化。而作为理论基础的“话语体系”,由造化、心源、传统与笔墨、写意构成基本范畴,进而延展出观察、塑形、置陈布势、意境等一系列关乎“技法”的写形观念,它既是“形而上”画理的衍化,更是“形而下”画法的直接引导。中国传统画学“写形观念”是对对象“物之理”的观察,不单纯依赖眼睛,还要有“心观”。画家要用“情理”调动全部感受力量与精神力量去接触与体验客观对象,对象的生命被链接,认识的力量将物我紧密联系在一起,成为“天人合一”的玄妙境界。“意象”在过程中得以凝练并生发,进而以约定的“笔墨语言”并依据“画理”,实现画面意境的最终表达。 展开更多
关键词 中国传统 写形观念 三理
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体式平正 视野开阔 立论精辟——评张建军教授新著《中国古代山水画理论史》
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作者 张黔 《美术大观》 2023年第6期150-152,共3页
张建军教授新著《中国古代山水画理论史》是我国山水画理论史研究的新收获。本书体式平正,按时间顺序梳理古代山水画论中的重要观念,并注意各概念或命题的历史发展,章节安排合乎传统艺术史研究的范式。本书视野广阔,作者将中国古代山水... 张建军教授新著《中国古代山水画理论史》是我国山水画理论史研究的新收获。本书体式平正,按时间顺序梳理古代山水画论中的重要观念,并注意各概念或命题的历史发展,章节安排合乎传统艺术史研究的范式。本书视野广阔,作者将中国古代山水画论放在整个古代画论大框架内进行研究,注意发掘其哲学、文学、艺术学背景,引入比较艺术学的方法。本书在观点上富有创见,在前人基础上延伸发展,发现前人研究中未曾充分注意的内容。 展开更多
关键词 中国古代山水理论史 张建军 传统
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早期中国本土摄影理论中的画意模仿论 被引量:5
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作者 潘万里 《中国文艺评论》 CSSCI 2019年第11期48-60,共13页
中国的早期摄影在由图像媒介晋升为门类艺术的过程中,形成了具有本土特色的画意模仿论:在媒介观念上,当时的摄影家们自觉地将摄影视作延续传统文人画学的“画笔”,并从中汲取创作的养分和灵感;同时,他们对摄影与绘画之间的家族相似性也... 中国的早期摄影在由图像媒介晋升为门类艺术的过程中,形成了具有本土特色的画意模仿论:在媒介观念上,当时的摄影家们自觉地将摄影视作延续传统文人画学的“画笔”,并从中汲取创作的养分和灵感;同时,他们对摄影与绘画之间的家族相似性也有一定的思考,为摄影分享绘画的“艺术共性”从而获取合法艺术身份提供了理论基础;而在摄影美学方面,摄影家们努力实现了传统画意美学在摄影中的“民族性”转化,从而使得本土的“画意摄影”能够和西方的画意主义摄影之间产生有效的区分。虽然这种具有民族特色的“画意模仿论”只是本土摄影获取合法艺术身份的“权宜之计”,不可避免地带有一定的局限性,但它却使得传统的画意美学通过摄影媒介重新焕发出了现代视觉品质。 展开更多
关键词 传统 摄影理论 民族性 意模仿论 摄影艺术
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从中国传统画学“品第”观看审美理想的重建 被引量:7
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作者 朱晓红 《美术》 北大核心 2002年第8期56-57,共2页
关键词 “品第” 传统 审美理念 艺术 当代艺术 艺术创作 中国
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船山美学思想中的传统画学哲理与文化价值
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作者 谭媛元 《美术文献》 2022年第2期6-8,共3页
王船山在中国近古思想史上有着重要地位,他的美学思想在中国古典美学思想中占据重要地位。本文以王船山的美学思想与传统画论之间的关系为主要研究对象,采用基础学理的致思维度,运用画学、诗学、美学、文艺学、理学等跨学科理论作为观... 王船山在中国近古思想史上有着重要地位,他的美学思想在中国古典美学思想中占据重要地位。本文以王船山的美学思想与传统画论之间的关系为主要研究对象,采用基础学理的致思维度,运用画学、诗学、美学、文艺学、理学等跨学科理论作为观察视角,系统地研究王船山美学思想的内涵与意蕴,分析王船山美学思想中的传统画学哲理,并挖掘其中的文化价值、美学意义,结合现状对湘学的传承与发展问题进行合理探究,以期为传统美学与湖湘文化多样性创新性发展提供理论支撑与应用路径。 展开更多
关键词 思想 传统哲理 文化价值 湖湘文化
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中国现代留洋美术家对"气韵生动"阐释的比较 被引量:2
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作者 陈宁 《艺术百家》 CSSCI 北大核心 2020年第3期177-182,共6页
中国现代留洋美术家对“气韵生动”这一中国画最高审美理想的理解存在诸多差异,这些差异分别体现在对这一概念的理解方式和达成方式、阐释的知识来源、阐释背后的画学经验和立场等方面。这些差异反映了中国现代留洋美术家对中西绘画两... 中国现代留洋美术家对“气韵生动”这一中国画最高审美理想的理解存在诸多差异,这些差异分别体现在对这一概念的理解方式和达成方式、阐释的知识来源、阐释背后的画学经验和立场等方面。这些差异反映了中国现代留洋美术家对中西绘画两大体系的认知存在诸多的分歧。其中,既有深谙传统画学流脉、尊重画史复杂性的美术家,也有主张中西混同的美术家,更有以单一标准对传统画学进行评判的美术家。这也造就了某些留洋美术家理念和主张的局限性。 展开更多
关键词 中国传统 留洋美术家 “气韵生动” 阐释 差异
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The Effective of Short Movie Innovation on Pharmacology Knowledge
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作者 Singkun Awirut 《Journalism and Mass Communication》 2012年第9期911-916,共6页
The integration of compute.r technology in education allows students to have better comprehension of the subject content, and suitable learning material can make learning activity more attractive. The objectives of th... The integration of compute.r technology in education allows students to have better comprehension of the subject content, and suitable learning material can make learning activity more attractive. The objectives of this development research were the evaluation of short movie production as innovative learning material and the knowledge comparison between traditional learning and learning through short movie. Three licensed pharmacists, i.e., the experts, proofread the screenplay of the movie. The study subjects consisted of 68 public health students--A control group and 31 of whom saw the movie--An experiment group. The results showed that the highest mean score was o^L understanding about the "group of anti-bacterial agents", while the lowest mean score was on "recommendation of time used". Evaluation of the short movie innovation showed the highest mean score in the item "the film can be used as the objective's direction" and the lowest mean score in the item "the film is usefully material". The students who watched the short movie had significantly higher level of knowledge at the end than those who underwent conventional learning (p 〈 0.001). For future studies, films that are useful for other subject areas should be produced. 展开更多
关键词 INNOVATION PHARMACOLOGY short movie
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2D Animation Hybrid Technique Combining Traditional and Digital Technique Based on Analytical Motion and Physics
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作者 Michael Sega Gumelar 《Computer Technology and Application》 2011年第4期263-269,共7页
Great Animation not just drawing sequence of images or just combining images into frame by frame whatever motion will be, but Great Animation actually based on Physics, Biology and Lip sync. 2D Animation Hybrid Techni... Great Animation not just drawing sequence of images or just combining images into frame by frame whatever motion will be, but Great Animation actually based on Physics, Biology and Lip sync. 2D Animation Hybrid Technique is combination of Traditional Technique and Digital Technique, but the motion also based on analytical motion and physics. Traditional technique using mostly stop motion technique and experiment in any material animated objects, such as celluloid, sand, pebble, clay, doll, flour, or any objects that can be animated. This day digital technique is widely used mostly using computer hardware and software, and a lot of 2D animation software out there that can be used to create 2D animation. 2D Animation Hybrid Technique is a new technique that combining the traditional 2D animation technique but not using stop motion technique and with digital technique using computer and software, this technique become possible using image scanning technology that can digitizing any image from photo to hand drawn image. Then the sequence hand drawn animation edited in frame by frame also layer by layer using certain software in computer to create illusion of motion. The motion itself not just using any sense of art but also using physics, biology especially anatomy when needed to create such realism motion or perhaps funny motion in cartoon style animation. 展开更多
关键词 2D animation hybrid technique combining traditional and digital technique.
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Appreciation and Analysis of Traditional Chinese Painting's Freehand Brushwork Aesthetic Characteristics
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作者 Jingnan CHEN 《International Journal of Technology Management》 2014年第2期119-121,共3页
Traditional Chinese painting possesses its own unique artistic style in the world' s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese ... Traditional Chinese painting possesses its own unique artistic style in the world' s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator's subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, "similarity in form or appearance" and "similarity in spirit" are always dialectically unified with consciousness and unconsciousness, so that the art form with the "freehand brushwork" aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the "express appearance with appearance" in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the "freehand brnshwork" aesthetics as the creation method. The "freehand brushwork" aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy. 展开更多
关键词 Traditional Chinese Painting Freehand Brushwork AESTHETICS
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Ancient and modern, compatibility of Chinese and Western --Analysis of Huang Dufeng Painting Aesthetics Thought
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作者 Zongye Lu 《International Journal of Technology Management》 2014年第1期105-107,共3页
Mr. Huang Dufeng is the master to paint landscapes, flowers, birds and people. In artistic practice, he clearly saw that in addition to using the ink to express the appearance, there exists its independence of aesthet... Mr. Huang Dufeng is the master to paint landscapes, flowers, birds and people. In artistic practice, he clearly saw that in addition to using the ink to express the appearance, there exists its independence of aesthetic nature. In addition, Mr. Huang Dufeng is aware of vital importance of the spirit manifesting in the traditional painting. He has foresight in the face of treating the mutual development of Chinese and Western painting. In the meantime to advocate learning western painting, he all along emphasize that we should flourish the specific beauty of Chinese painting. He has showed a wide range of subjects, breaking the bondage of "four gentlemen" and pioneered the art image of angelfish. By discussion on Mr. Huang Dufeng through the painting features and process of thinking, he insisted on aesthetics concept of "Ancient and modern, compatibility of Chinese and Western". 展开更多
关键词 Huang Dufeng eclectic stuff artistic characteristics aesthetics.
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Analysis on the Homogeneities between Traditional Chinese Music and Painting Arts from Qichang Dong's "Theory of Southern and Northern Schools"
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作者 Anqi GUO 《International Journal of Technology Management》 2013年第10期16-17,共2页
Qichang Dong was a famous calligraphy and painting artist in ancient China. The theory of southern and northern schools proposed by him was a conclusion to traditional Chinese landscape painting art, and played an inc... Qichang Dong was a famous calligraphy and painting artist in ancient China. The theory of southern and northern schools proposed by him was a conclusion to traditional Chinese landscape painting art, and played an incomparable function in the traditional Chinese painting history in comparison with other painting theories. In the painting history, there were the theory of "pre-Dong" and the theory of "post-Dong" . In this paper, by starting from Qichang Dong' s "theory of southern and northern schoots" , the homogeneities between traditional Chinese music and painting arts are analyzed from the principle of spirit and the principle of technology, so that the homogeneities between traditional Chinese music and painting arts are explored in aesthetic concept and actual art creation. 展开更多
关键词 Qichang Dong the Theory of Southern and Northern Schools Traditional Music and Painting Arts Homogeneities
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中国画变革中的稳定性现象探析
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作者 郑石如 《美术》 CSSCI 北大核心 2021年第10期6-10,20,共6页
中国画在美术现代转型的历史浪潮中几经变革,却往往也会在变革程度超出中国文化所能承受的限度时,呈现出对传统画学的资源重识与价值重建。这种由变革与复返相互穿插构成的"往复形态"凸显出中国画变革中的稳定性现象。本文结... 中国画在美术现代转型的历史浪潮中几经变革,却往往也会在变革程度超出中国文化所能承受的限度时,呈现出对传统画学的资源重识与价值重建。这种由变革与复返相互穿插构成的"往复形态"凸显出中国画变革中的稳定性现象。本文结合中国画在现代转型语境下的具体举措与思想阐发,从以"通变"思想为表征的互系思维、以整体文化特性为基底的稳定结构、以"笔墨精神"为核心的语言特性3个角度对这一现象试作探析。 展开更多
关键词 中国 传统 现代变革 稳定性
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朽道人之不朽精神——再论美术教育大师陈师曾
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作者 文鹏 《艺术教育》 2011年第11期126-126,共1页
文章通过对陈师曾著作、论文的分析,就陈师曾在治学态度、独到实际的画学论断、传统画学的保护三个方面进行了阐释,肯定了陈师曾在中国画史论研究及对中国传统绘画的保护方面做出的贡献。呼吁广大学子学习其治学、传统保护和改良及独特... 文章通过对陈师曾著作、论文的分析,就陈师曾在治学态度、独到实际的画学论断、传统画学的保护三个方面进行了阐释,肯定了陈师曾在中国画史论研究及对中国传统绘画的保护方面做出的贡献。呼吁广大学子学习其治学、传统保护和改良及独特判断等方面之精神,为当下的艺术发展尽绵薄之力。 展开更多
关键词 陈师曾 态度 论断 传统保护
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