元代美術(shù)人才地理研究

1、 ` 碩士學位論文 M.D.Thesis 元代美術(shù)人才地理研究 A study GeograPhical distribution of the Yuan Dynasty art 岳亞斌 Yue -yabin 西北師范大學美術(shù)學院 Academy of fine arts of Northwest Normal University 二〇一三年五月 III Abstract This thesis

2、 adopts the methods and theories of the history of human geography to study the geographic distribution of the Yuan Dynasty art talent. Art talents includes many types, we select the representative samples of calligraphy

3、 and painting talents as the content of this paper. Yuan Dynasty was a dynasty of our special, the rule of the Mongol regime influenced greatly on our culture, especially of calligraphy and painting, we choose the Yuan D

4、ynasty for a period of time just because of this particularity. Through the research of geographic distribution characteristics of art talents and the transition in Yuan Dynasty, it concludes the law about the distribut

5、ion of art talents in Yuan Dynasty, which also explores the history of talent geography in Yuan Dynasty from the perspective of historical geography. The article contains four parts: The first chapter is the introduction

6、, which includes the reasons of why we choose this topic and the significance of it and its academic history review and research methods . Chapters II and III discusses the overview of the distribution of calligraphers a

7、nd painters in Yuan Dynasty and the features, changes and the reasons ,it finds that the developed area of calligraphy in Yuan Dynasty located in the center of the capital Dadu district , and Jiangsu and Zhejiang Hangzho

8、u districts, but Jiangxi and Huguang districts had less, Chengdu had remained the state of the end of the Southern Song Dynasty. Having the different laws, paiting attracted a large number of paintings talent to the capi

9、tal of Yuan, Dadu became the northern center of the painting, but the painting center in Hangzhou as the center of the southern region over North and absolutely advanced in the painting .As the original culture developed

10、 areas, Kaifeng and Chengdu’s influences on painting still exited, but the dominant position had completely lost. On the basis of fully understanding of the distribution of calligraphy and painting talents in Yuan Dynast