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中国山水画博大精深,在千年的流传和发展当中形成了许多不同的派别,每个朝代每个时期都产生过独特的山水画派,这些画派各具特色,别具一格,尤其是从绘画的理论出发,形成了一个独特的画派,即书院派。书院派画家们以善于总结著称,在画风上不拘一格,但是都共同遵循着对艺术的理论探讨,上升了对美学的讨论,不断丰富和完善了中国古代山水画的理论体系,尽管这个学派并未真正的被总结出来,也无从考究是否真的存在这样的画派,但是基于对中国山水画的理论探讨,我们认为这样的一个入手点和出发点,能够对中国山水画的研究启发一个独特的方向,从而加深对中国山水画美学理论方面的研究。
There are many different factions in the spread and development of the millennium, each period of each dynasty has produced a unique landscape school, these schools have their own characteristics, unique style, especially from the theory of painting, the formation of A unique school, the academy school. The academics and painters, who are good at summing up and are eclectic in style, all follow the theoretical discussion of art, raise their discussions on aesthetics, and constantly enrich and perfect the theoretical system of ancient Chinese landscape painting. Although this school However, based on the theoretical exploration of Chinese landscape painting, we think that such a starting point and starting point can inspire a unique direction for the study of Chinese landscape painting. , So as to deepen the research on the aesthetic theory of Chinese landscape painting.