博山樣鉤沉─兩漢至唐代繪畫中的石法研究

1、 目 錄 中文摘要........................................................................................................................................... I Abstract ..........................................................

2、.................................................................................. II 緒 論.................................................................................................................................

3、.......... III 第一章 尷尬的研究現(xiàn)狀——舉步維艱的山水畫溯源 ................................................................. 1 第二章 隱沒在歷史中的繪畫樣式——博山樣 ............................................................................. 5 第一節(jié) 隱沒在歷

4、史中的繪畫樣式——博山樣 ..................................................................... 5 第二節(jié) “博山”一詞的來源及其內(nèi)涵 ................................................................................. 7 第三節(jié)“博山樣”的造型來源推測及其在多種器物上的應(yīng)用 ...

5、...................................... 10 第四節(jié) 博山樣對(duì)畫面布局的影響——“人大于山”現(xiàn)象探源 ....................................... 14 第三章 博山樣在各時(shí)期繪畫中的體現(xiàn)及衍變 ........................................................................... 20 第一節(jié)

6、 兩漢魏晉時(shí)期繪畫中的博山樣 ............................................................................... 20 第二節(jié) 華麗多姿的轉(zhuǎn)折時(shí)代——南北朝時(shí)期的博山樣 ................................................... 23 第三節(jié) 博山樣蛻變消亡的唐代山水畫 ....................

7、........................................................... 28 結(jié) 語 ............................................................................................................................................ 32 參考文獻(xiàn)..

8、....................................................................................................................................... 33 中國美術(shù)學(xué)院—中國畫系—孔繁軒—《博山樣鉤沉—兩漢至唐代繪畫中的石法研究》 II Abstract Trace the origin of Chinese la

9、ndscape painting is a long-term problem, but the rare remains of missing painting, leaving too many unresolved questions. With the rise of Chinese archeology, this may be to light the truth that many of the world, the un

10、expected is the difference between the attendant, Origin of the road is still bumpy. This article only painting “rocks“ method as the research object styles, from the not yet clear, “ landscape painting “is defined in th

11、e Han to the Tang Dynasty paintings, try to find the evolution of context, although not map “see micro-known book “ to reveal the Circumstances surrounding the formation of landscape painting, then micro illustrates quie

12、t, eventually income. Loss due to old paintings, this art as the main analog to archaeological objects, and discard most of undeserved reputation handed down the name of a fake copy or care, which explore the “rocks Law