浅析南、北宋山水画构图审美形式变化 张舒萍.docVIP

论文编码：RUC-BK-150-050404中国人民大学本科学生毕业论文 浅析南、北宋山水画构图审美形式的变化 作 者: 张舒萍 学 院: 艺术学院 专 业: 绘画（中国画） 年 级: 2005 级 学 号: 指导教师: 付阳华 论文成绩: 日 期:2009年05月11日 中文摘要 中国传统山水画在南、北宋时期达到前所未有的高峰，成为中国传统山水画发展史上一个重要的里程段，但是这两个时期的山水画发展规律有着很大的不同。南宋时期的山水画构图审美形式一改北宋时期的全景式构图，偏向于以边角式的局部景象为主，从而使中国传统山水画的构图审美形式发展到了新的境地。不同时期的山水画构图审美形式，传达出了各自不同的绘画美学思想，使我们从宏观的角度感受到不同时期从山水画构图上所体现出的绘画审美意识，感受到各个时期的社会思想、文化意识、经济发展、社会环境、地域区别、民族关系等等诸多因素在中国山水画中的渗透融合，以及不同意境所呈现出来的中国传统文化。 所以我们就以此为题来探讨一下南、北宋时期中国传统山水画构图审美形式的变化及其导致此种变化的原因。 关键词 变化 构图 南、北宋山水画 审美形式 Abstract Traditional Chinese landscape painting in the South and the Northern Song dynasty reached an unprecedented peak, becoming the history of the development of traditional Chinese landscape painting an important milestone in paragraphs, but in both periods of landscape development have very different laws. Southern Song Dynasty landscape painting of the aesthetic form of composition does not extend during the Northern Song Dynasty of panoramic composition, tends to be a corner of the local scene-based, so that the composition of traditional Chinese landscape painting to develop aesthetic form to a new position. Landscape composition at different stages of aesthetic form, to convey a different aesthetic thinking of painting, so that we feel from a macro point of view from different periods on landscape composition of the painting reflect the aesthetic sense of the community feel the different periods of thought, cultural awareness, economic development, social environment, the geographical distinction, and so on many factors, ethnic relations in the infiltration of Chinese landscape painting in the integration, as well as to show by a different conception of the Chinese traditional culture.  Therefore, we used this as its theme to explore traditional Chinese landscape painting during the South and the Northern Song Dynasty aesthetic composition