王希孟《千里江山图》的五行色彩探渊与解读-中国水墨山水画创作与理论研究专业论文.docx

目录中文摘要···························································1英文摘要···························································2引言·······························································3第一章中华文化精神中的五行与五色论································4一、中华文化中的数字“五”——一个宇宙原型般的观念数字·············4二、五行色彩大义·················································41，五行色彩的产生及变化规律·····································42，五行色彩的象征与情感·········································5三、五行色彩的承传及其在宋代的主导地位···························61，先秦及秦时期的绘画色彩观——“盛德在水”，崇尚黑、红色·········72，两汉时期的绘画色彩观——“盛德在土”，崇尚黄色·················73，魏晋南北朝时期的绘画色彩观——壁画以青、绿为主色调············74，唐宋时期的绘画色彩观——以青、绿为主色调，深入民间与宫廷······7第二章《千里江山图》中的五行色彩解读································9一、五行文化体系下的《千里江山图》································91，北宋文化大环境下的青绿山水····································92，王希孟与《千里江山图》·········································9二、重新解读《千里江山图》中的色彩秩序·························111，以五行原理来重新认识《千里江山图》中的“随类赋彩”·············112，《千里江山图》中的纯颜色审美··································123，物理观察与五行色彩画理的结合·································134，《千里江山图》赋彩的五行象征意义及审美意趣·····················14三、《千里江山图》中的哲学色彩观——以道为源宗，释、道、儒大融合·····15四、以《千里江山图》为例，分析解读两宋时期其他青绿山水作品········18第三章青绿高峰之后五行色彩的审美和价值取向·······················21一、宋以后对色彩的审美取向······································21二、回到原点——五行色彩的价值··································221，无尽阐释性····················································222，伦理局限性····················································22结论······························································24参考文献··························································25后记······························································27王希孟《千里江山图》的五行色彩探渊与解读中文摘要：阴阳五行学说，是中华文化精神的一个重要组成部分，是古代中华民族对于宇宙万物和自然现象的根本认知观。阴阳五行，不仅仅指金、木、水、火、土五行相生相克，还代表了由此而衍生出的“五色”关系。“五色”即五行色彩，它和“五方”，“五音”，“五季”等皆为五行学说的附属衍生物。五行色彩思想是中华民族特有的宇宙时空观、人生观和审美情怀的体现。相比较西方的科学色彩体系，中国古代的色彩思想是一套哲学色彩体系，其原理就基于五行相生相克和阴阳相背。在道家五行文化观念大行其道的北宋时期，青绿山水画在一定程度上受到五行学说的影响，其哲学色彩基础就是基于道家的阴阳五行学说。作为青绿山水画代表的《千里江山图》，其中所描绘的色彩世界不是描绘自然对象的本体色，也不是描绘在特定条件下