仇英《清明上河图》绘画语言研究-a study on painting language of chou yings.docxVIP

下载本文档

30
0
约4.4万字
约 35页
2018-09-10 发布于上海
举报
版权申诉

仇英《清明上河图》绘画语言研究-a study on painting language of chou yings.docx

1、原创力文档（book118）网站文档一经付费（服务费），不意味着购买了该文档的版权，仅供个人/单位学习、研究之用，不得用于商业用途，未经授权，严禁复制、发行、汇编、翻译或者网络传播等，侵权必究。。
2、本站所有内容均由合作方或网友上传，本站不对文档的完整性、权威性及其观点立场正确性做任何保证或承诺！文档内容仅供研究参考，付费前请自行鉴别。如您付费，意味着您自己接受本站规则且自行承担风险，本站不退款、不进行额外附加服务；查看《如何避免下载的几个坑》。如果您已付费下载过本站文档，您可以点击这里二次下载。
3、如文档侵犯商业秘密、侵犯著作权、侵犯人身权等，请点击“版权申诉”（推荐），也可以打举报电话：400-050-0827(电话支持时间：9:00-18:30)。
4、该文档为VIP文档，如果想要下载，成为VIP会员后，下载免费。
5、成为VIP后，下载本文档将扣除1次下载权益。下载后，不支持退款、换文档。如有疑问请联系我们。
6、成为VIP后，您将拥有八大权益，权益包括：VIP文档下载权益、阅读免打扰、文档格式转换、高级专利检索、专属身份标志、高级客服、多端互通、版权登记。
7、VIP文档为合作方或网友上传，每下载1次，网站将根据用户上传文档的质量评分、类型等，对文档贡献者给予高额补贴、流量扶持。如果你也想贡献VIP文档。上传文档

仇英《清明上河图》绘画语言研究-a study on painting language of chou yings

万方数据万方数据山东理工大学硕士学位论文目录目录中文摘要 ······························································································ Ⅰ Abstract ································································································ Ⅱ 目录 ······································································································ Ⅲ 引言 ········································································································ 1 第一章《清明上河图》系列图本考述 ················································· 3 1.1 存世《清明上河图》 ·········································································· 3 1.2 北宋、明、清三个时期《清明上河图》的文化背景 ·························· 5 第二章仇英的绘画艺术特色 ······························································ 8 2.1 仇英与明代社会 ················································································· 8 2.2 仇英的艺术生涯 ················································································· 9 第三章仇英《清明上河图》诸种艺术表现之比较 ··························11 3.1 构图布局相似，段落场景有异 ··························································11 3.2 时代背景变迁，内容细节增删 ························································· 13 3.3 散点透视传承，焦点透视融合 ························································· 17 3.4 笔墨继续拓展，色彩开启新风 ························································· 19 3.4.1 山水树石 ················································································ 19 3.4.2 舟车建筑 ················································································ 21 3.5 人物多而散小，刻画由细转略 ························································· 22 3.5.1 人物增多、尺寸变小、分布变散 ··········································· 22 3.5.2 人物刻画转略，仕女描绘精彩 ··············································· 23 3.6 艺术风格的演变 ··············································································· 26 第四章北宋张择端、明代仇英、清院本《清明上河图》之间的继承与创新 ·····························································