从点、线、面看中国山水画基本构成

发布时间：2018-04-21 11:42

本文选题：点 + 线　；参考：《西安美术学院》2014年硕士论文

【摘要】：本文主要以康定斯基的点、线、面理论观点为基础，结合现代平面构成中的以点、线、面基础元素，并结合其组合的独立形及以独立形为基础再构成的复合型，及其构成为骨架所组织的观念来分析山水画的构成形式。并以其基础组成原则的普识性审美意识为切入点，结合中国山水画本体艺术发展原则来破析的其结构。排除现在学者以形式论形式的观点来分析中国山水画的构成，这里比如说对面的解释，有学者认为中国绘画重视“面”的关系是从南宋梁楷的大写意人物画开始的错误说法给予了否定，并重新论证。本文认为中国人很早就重视“面”的概念，比如老子的“万物负阴而抱阳”点、面入画的面观念。并结合留白观念，以及中国山水画中以小观大“片”、“面”视物的认识方式来区别于现代大部分学者以形式论形式的独特视角。第一章主要论述了康定斯基与平面构成的关系及其重要性。第二章、第三章对传统山水中的基本元素与平面构成里基本元素的关系，，传统山水中的基本形与平面构成里基本形关系，并结合中国传统思想分析构成方式都具有独特的视角。第四章基本形的复合构成关系与平面构成关系结合传统图案构成和卦画构成及古书法意象、河图洛书等构成方式论述对现代绘画也有新的启发。
[Abstract]:This paper is mainly based on Kandinsky's theory of point, line and plane, combined with the elements of point, line and surface in modern plane construction, and combined with the combination of independent form and composite type based on independent form. And the concept of skeleton organization to analyze the form of landscape painting. And with its basic composition principle of the general aesthetic consciousness as the breakthrough point, combined with the Chinese landscape painting Noumenon art development principle to break its structure. It is excluded that scholars now analyze the composition of Chinese landscape painting from the viewpoint of formal theory, such as the explanation of the opposite side. Some scholars believe that the relationship between Chinese painting and "facet" was negated by the false theory of "freehand brushwork" by Richard Liang in Southern Song Dynasty, and the argument was reproved. This paper holds that the Chinese have attached great importance to the concept of "face", such as Laozi's point of "negative Yin and embracing Yang" and the concept of "face into painting". Combined with the concept of white space, and the Chinese landscape painting in the small view of "film", "face" view of the way to distinguish most of the modern scholars in the form of form unique perspective. The first chapter mainly discusses the relationship between Kandinsky and plane constitution and its importance. The second chapter, the third chapter, has the unique angle of view to the relation between the basic elements in the traditional landscape and the basic elements in the plane composition, the basic form and the plane form in the traditional landscape, and the analysis of the constitution way with the combination of the Chinese traditional thought. In the fourth chapter, the relationship between the composition of the basic form and the plane is combined with the traditional pattern composition and the composition of the hexagram and the ancient calligraphy image, and the discussion of the composing ways of the river turban and Luo Shu also has new inspiration to the modern painting.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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