干裂秋風(fēng)潤(rùn)含春雨——焦墨山水畫(huà)研究

1、 曲阜師范大學(xué)研究生學(xué)位論文原創(chuàng)性說(shuō)明 （根據(jù)學(xué)位論文類(lèi)型相應(yīng)地在“□”劃“√”） 本人鄭重聲明：此處所提交的博士□/碩士□論文《干裂秋風(fēng) 潤(rùn)含春雨—焦墨山水畫(huà)研究》 ，是本人在導(dǎo)師指導(dǎo)下，在曲阜師范大學(xué)攻讀博士□/碩士□學(xué)位期間獨(dú)立進(jìn)行研究工作所取得的成果。論文中除注明部分外不包含他人已經(jīng)發(fā)表或撰寫(xiě)的研究成果。對(duì)本文的研究工作做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確的方式注明。本聲明的法律結(jié)果將完全由本人承擔(dān)。 作者簽名：

2、 日期： 年 月 日 曲阜師范大學(xué)研究生學(xué)位論文使用授權(quán)書(shū) （根據(jù)學(xué)位論文類(lèi)型相應(yīng)地在“□”劃“√”） 《干裂秋風(fēng) 潤(rùn)含春雨—焦墨山水畫(huà)研究》 系本人在曲阜師范大學(xué)攻讀博士□/碩士□學(xué)位期間，在導(dǎo)師指導(dǎo)下完成的博士□/碩士□學(xué)位論文。本論文的研究成果歸曲阜師范大學(xué)所有，本論文的研究?jī)?nèi)容不得以其他單位的名義發(fā)表。本人完全了解曲阜師范大學(xué)關(guān)于保存、使用學(xué)位論文的規(guī)定，同意學(xué)校保留并向有關(guān)部

3、門(mén)送交論文的復(fù)印件和電子版本，允許論文被查閱和借閱。本人授權(quán)曲阜師范大學(xué)，可以采用影印或其他復(fù)制手段保存論文，可以公開(kāi)發(fā)表論文的全部或部分內(nèi)容。 作者簽名： 日期： 年 月 日 導(dǎo)師簽名： 日期： 年 月 日 ABSTRACT Ink painting originated very early. Be

4、fore the ink and wash painting appeared, many paintings in ancient times are in a single dense black, or it can be said that the strong ink sketch. Prehistoric painted pottery rough, dark lines, it forms is using the pri

5、stine. Careful research and analysis of the early works of painting, can also be found with ink line sketch outline a deep level .(From the spring and Autumn period lasted to the middle period of Tang Dynasty, methods th

6、e hook line flat coloring.) Developed to the five generation, song dynasty, paper, ink industry is already quite mature. But this period of landscape painters did not use water blending, pondering change ink on paper. De

7、veloped to the five generation, song dynasty, paper, ink industry is already quite mature. According to the drawing procedure hook, cracked, rub, point, dyed, and using layers of way, Characterization of stone scene care

8、fully concrete. From the drawing steps and ink analysis, the overall picture is black, is not vague. After the Yuan Dynasty ink blending, other than the way, this can be a kind of the same form. As Huang Binhong cloud “s

9、ong with same”.In the southern song dynasty, there are many factors in ink landscape paintings, some even with strong ink add casual touches to a painting, “more“ paint “. After the yuan dynasty, with the prevalence of i

10、nk painting, ink in the picture in the proportion gradually reduced. But this does not mean that during the period of the painter of the same law no longer attention and exploration. On the contrary, the use of fewer but

11、 better, make up the same starting role is more important. To the qing dynasty, there have been some good use of thirsty pen ink painter. Coke ink landscape painting is the development and breakthrough of good. They wi

12、ll be in a dry pen ink techniques to remind function, separate out for exploration. To manage the picture with the same as the main language of brush and ink, they created a new painting style. Cheng Sui is one of the mo

13、st typical one. He boldly the stone carving art, and reveal their own artistic personality. The painter Huang Binhong evaluation is: “dry autumn, spring run with the assessment of his painting“. In addition, the artist J

14、ian Jangs and Kun Can artist also dry pen ink works are a little. To the modern landscape painter Huang Binhong is also attached great importance to the same, and it is listed as one of the “seven black“. This is a summa

15、ry of theoretical and rich, very good inspiration to contemporary painter of the same law positive attempt and exploration. In the contemporary art world, Zhang Ding, Cui Zhenkuan, Zhu Songfa, Lai Shaoji and othe