论中国传统山水画空间表现-美术学专业论文.docxVIP

II II 摘 要 本文力图以时间概念为牵引，从不同时代的绘画理论为切入点， 来阐述每个时代对画面空间的理解和表达。文章力图把这一现象总 结，概括出一个大的规律，使其系统化，为山水画的创作更好的服务。 无论这种空间感在画面上以什么样的形式表现，其文化底蕴是一脉相 承的，都是五千年文明链上的一环，只是时间的先后不同而已。每个 时代都在自觉或不自觉的探索，寻找着属于自己的艺术样式。 中国传统山水画的创作不是画家直接表现自己生理视觉所见，而 是一个“外师造化，中得心源”的过程，他是对客观自然的超越，对 生理真实的超越。对其空间的处理有其独特的思维方式和创作理论， 如“以大观小”，“以小观大”的思维智慧，“重叠式”，“虚实对比”， “自由视点式”的空间表现方式等等。 本文谈及到传统山水画所依赖的美学理论和哲学思想，从中寻找 到古人的得失，总结经验，通过对中国山水画空间的分析对养成一种 自由自觉的多维性空间及表现意识，完成中国山水画自身的里程有着 借鉴意义。 关键词：空间 山水画 空间表现 特点 III III Abstract This paper is trying to time the concept of traction, Paintings from different times as a starting point to elaborate the theory of。Each era of understanding and expression of screen space. Article strive hard to bring this phenomenon summed up and summarized a large pattern to make it systematic, in order to better serve the creative landscape. Whether the sense of space on the screen in what forms, their cultural heritage is the same strain, are five thousand years of civilization, chain link, but the time has different. Every age in the exploration, consciously or unconsciously, searching for his own artistic style. The creation of traditional Chinese landscape painting is not a physical visual artists to express themselves directly see, but a teacher and good fortune, in the very heart source process, he is beyond the objective nature of the transcendence of physical reality. Treatment of its space has its unique way of thinking and creative theories, such as the Grand View small, small view of big the wisdom of thinking, Overlap, compare actual situation and freedom point of view-style space show and so on. This article discussed rely on the traditional landscape aesthetic theory and philosophy, from the ancients to find the pros and cons, sum up experience, through the analysis of space in Chinese landscape painting to cultivate a free self-conscious awareness of multi-dimensional nature of space and performance to complete a Chinese landscape painting itself have referential significance o