中國(guó)山水畫(huà)中“亭子”形象的美學(xué)內(nèi)涵研究

1、 分類號(hào)注 1： 密級(jí)注 2： UDC注 3： 學(xué)號(hào)注 4：M1101103 碩 士 學(xué) 位 論 文 中國(guó)山水畫(huà)中“亭子”形象的美學(xué)內(nèi)涵研究 研究生姓名： 邱實(shí) 邱實(shí) 導(dǎo)師 姓名 ： 劉承華 劉承華 教授 教授 申請(qǐng)學(xué)位級(jí)別 碩 士 學(xué)科專業(yè)名稱藝術(shù)學(xué)理論（藝術(shù)美學(xué)） 論文提交日期 2014 年 5 月 9 日 論文答辯日期 20

2、14 年 5 月 16 日 學(xué)位授予單位 南京藝術(shù)學(xué)院 學(xué)位授予日期 2014 年 6 月 日 答辯委員會(huì)主席 評(píng) 閱 人 2014 年 5 月 16 日 Abstrsct Abstrsct The pavilion has no walls all around, but the appearance of it is small and exquisite. The p

3、avilion is the simplest one in chinese architectures, however, because of the ‘simple’, the pavilion become the closest architecture to nature. And the spiritual value of pavilion can be explored continually by chinese

4、 ancient literaties who have philosophy and profound thought. Much spirit and implication have been accumulated for pavilion in the process of cultural and historical development. As a result, the image of pavilion grad

5、ually become a cultural symbol. In the chinese landscape paintings, a lot of pavilions which are as architecture point attractions have been used. Along with pavilion maturing day by day, it is given more clear and ric

6、h content, In the chinese landscape paintings, ‘the pavilion’ has become the ‘poetic dwelling’. This thesis started with parsing the plastic change of pavilion. The images of pavilions which appeared in the landscape pa

7、intings in previous different dynasties were compared. The shape of beauty in the paintings and the contribution which was made in the expressions of landscape paintings. The special aesthetic connotation of chinese lan

8、dscape painting was interpretated in the process of being specific to being imagery symbol and from the freestyle to realism. Keywords: landscape painting, pavilion, Point Attraction, Form aesthetic feeling, aesth