晶晶炫目气象浑沦——王原祁浅绛山水色法效果和比较分析.pdfVIP

晶晶炫目 气象浑沦——王原祁浅绛山水色法效果及比较分析 Finally, based on the foregoing summary, we locate the contribution made by Wang Yuanqi in light colored landscape painting, which thus lead us to think about nowadays the inadequacies of the succession in color and propose to carry forward the reasonable traditional part as well as thinking about how to continue making innovations. Key Words: light colored landscape, light coloring method, rendering method, stacking method, structural coloring Thesis: Theory Research III 晶晶炫目 气象浑沦——王原祁浅绛山水色法效果及比较分析 目 录 1、绪论 ·································1 1.1、选题的背景及缘由 ··························1 1.2、选题的历史及现状 ··························1 1.3、研究的目的及意义 ··························2 1.4、研究的途径及方法 ··························3 2、王原祁浅绛山水色法的形成 ·······················4 2.1、浅绛山水以及浅绛色法 ························4 2.2、浅绛山水形态的几个关节点 ······················5 2.2.1、“吴 装”—— 董 源 —— 黄公望 ················5 2.2.2、 董其昌 —— 王时敏 —— 王原祁 ················6 2.3、王原祁浅绛山水风格形成的时间过程及大致分期 ·············8 2.3.1、 约公元1700 年以前（秉承家学 略似王时敏） ···········8 2.3.2、 约公元1700 年到1707 年左右（色色相浸 温润淋漓） ······11 2.3.3、 约公元1708 年左右到1715 年（老辣荒率 自然天成） ······13 3、王原祁浅绛山水的特征 ························17 3.1、由一般过程到机变过程（有简有繁 改变次序） ·············17 3.2、由渲染法到积叠法（技 法） ·····················18 3.3、由自然法则到结构法则（处理原则） ·················19 3.4、色法效果描述 ···························20 4、 有关王原祁浅绛山水图式效果的比较分析················22 4.1、与中国古典山水画家的比较 ·····················22 4.1.1、黄公望 王 蒙 董其昌 ··················22 4.1.2、王时敏 王 鉴 王 翚 ··················29 4.2、与西方画家的比较 ·························34 4.2.1、与塞尚的画面效果比较 ····················34 4.2.2、与莫奈的画面效果比较 ····················36 5、结束语 ·······························38 参考文献 ································40 引 用 ································43 后 记 ·······