中国绘画“疏密”二体的语言构造和风格意蕴

【作者】 张晴；

【导师】 樊波；

【作者基本信息】 南京艺术学院 ， 美术学， 2011， 硕士

【摘要】 “画分疏密二体”是中国绘画的独特现象。而追溯中国画的发展历程,则可以看出“疏密”二体具有深远的渊源和清晰的发展路线。唐代张彦远首次在《历代名画记》指出“若知画有疏密二体,方可议乎画”,并进而把中国传统人物画家顾恺之、陆探微、张僧繇、吴道子两两相分为“疏密”二体,顾恺之、陆探微属“密体”,张僧繇、吴道子被列为“疏体”。这在“疏密”二体的承传流变中具有重要的审美意义。而后,画家对“疏密”二体在理论和创作实践上作了进一步的生发。可以说,不管是从学理层面还是从绘画创作层面,“疏密”二体均有重要的研究价值。本论文从“疏密”二体的角度,重点探讨了中国古代绘画的不同的技法和风格类型,并将理论著述与相关的作品联系起来,深入把握中国古代画家对不同审美境界的理解和追求。更多还原

【Abstract】 "Painting sub-density two-style" is a unique phenomenon in Chinese painting. To trace the course of development of Chinese painting, you can see the "density" of the origin of the second style has far-reaching and clear development path. Tang Zhang Yan Yuan for the first time in the "art history in mind" that "if known picture of a two-style density, before meeting almost picture",and thus the traditional figure painter Gukaizhi, Lutanwei, Zhangsengyou , Wudaozi pairwise phase is divided into "density" two styles, Gukaizhi, Lutanwei are a "dense styles " Zhangsengyou , Wudaozi are classified as "sparse style." This "density" inheritance of the second flow style has an important aesthetic significance. Then, the painter of the "density" two-style theory and creative practice was further hair growth. Whatever may be said that from a theoretical level or levels from the painting, "density" Two styles have important research value. This paper from the "density" two-style point of view, focusing on the Ancient Chinese Painting techniques and styles of different types, and theoretical writings and related works to link artists of different depth grasp of the Ancient Chinese artistsof understanding and the pursuit of the aesthetic realm更多还原