宋代山水画,Song Dynasty landscapes
1)Song Dynasty landscapes宋代山水画
1.With analysis of works of representative landscape painters, beginning with the relation between writing brush and Chinese ink inSong Dynasty landscapes, this thesis researches how those landscapes reflect the realistic colored light changes, from the angle of the ancient Chinese astronomy changes in concrete nature images.本文从宋代山水画笔墨关系入手，结合宋代具有代表性山水画家的作品，从具体自然物象阴阳变化关系的角度，去研究宋代山水画对现实中色光变化的表现特征。
英文短句/例句
1.On the Formation of the Idea of Adoring Abstraction in the Landscape Paintings and the Poems for Them in Song Dynasty;论宋代山水画及题山水画诗中尚意观的形成
2.The Plainness and Pedestrianism--The Orientation of Aesthetics of Song Dynasty Scenery Painting;平远尚淡——宋代山水画论的审美取向
3.The Confucianism and its influences upon the paintings in the Song dynasty;理学人格对宋代山水画审美理想的影响
4.How Landscape Poetry Borrows Aesthetic Function from Landscape Painting by Combining Heart with Mind;丹青吟咏 妙处相资——宋代山水画“吟咏情性”与“诗人相表里”
5.Like the flowers and bird paintings and figure paintings of the period, the mountains and water paintings of the Song Dynasty were very realistic.宋代山水画的共同特点也像当时的花鸟、人物画一样，强调师法造化，比较写实。
6.The Poets’ Self-presence in the Poems for Landscape Paintings in the Song Dynasty;论宋代题山水画诗“画中有我”的自寓性
7.Mountains and water painting, too, reached a peak in the Song Dynasty.到了宋代，山水画达到鼎盛，
8.Analysis of the Composition Features of the Landscape Paintings in the Five Dynasties and Song Dynasty;浅析五代、两宋山水画的空间布局特征
9.The Influence of the Geomantic Omen on Landscape Paintings of Five Dynasties to Early Song Period;由五代宋初山水画论看风水学对山水画成熟的影响
10.A Comment on the Cun Method of Chinese Landscape Paintings in the Period of Five Dynasties and Early North Song Dynasty;五代北宋初期中国山水画创作皴法简评
11.The Scenery Has the Boundary--Song Yuan Landscape Painting Composition Evolution and Drawing Thought;山水有境——宋元山水画构图演变及绘画思想研究
12.The Inspiration of the Layout of Brochure Design from the "Space" Form of Song Academy Landscapes;宋代院体山水画的“空间”语言形式对商业型录版式设计的启示
13.Differences within Similarities--Reading Northern Song Landscape Paintings and Barbierian School同中之异——读北宋山水与巴比松画派
14.Song and Yuan Style Ink Pen and Ink Landscape Painting Tradition and Innovation宋元水墨山水画笔墨风格的继承与创新
15.Study of Ideas and Opinions in Chinese Landscape Painting from Wei, Jin to Song, Yuan Dynasties;魏晋至宋元时期中国山水画思想观念研究
16.The Spirit of Scholars and the Aesthetical Trend of Landscape in the Song Dynasty;两宋士人的书卷精神与山水画的审美取向
17.The tendency towards conscious simplicity in landscape paintingsduring the song Dynasty;试论两宋时期山水画的自觉简略化倾向
18.The Confucianism and criteria of the paintings in the Song;两宋时期理学对山水画批评标准的影响
相关短句/例句
Song academy landscapes宋代院体山水画
1.However,the inspiration is acquired by the broad space,Vacancy,translucent fresh space that is available in theSong academy landscapes.而宋代院体山水画所具有的广阔,空灵,透亮清新的空间感觉给了我们很好的启发。
3)Song landscapes aesthetic宋代山水画审美
4)Landscape painting of five on behalfs and early north Sungs五代及北宋初山水画
5)paintings of mountains and waters in Song-Yuan Dyansties宋元山水画
1.And with thepaintings of mountains and waters in Song-Yuan Dyansties as the model and example, the text make some probe into its formation, its artistic achievement and the artistic conception’ beauty of traditional Chinese arts.本文将意境这一艺术形象进行了尝试性的阐述,并以意境塑造的典范——宋元山水画为例展开,初步探讨宋元山水意境形成的原因、达到的艺术成就以及中国传统艺术的意境之美。
6)landscape in Song dynasty北宋山水画
延伸阅读
宋代画学中国北宋徽宗赵佶执政时为培养宫廷需要的绘画人才而创立的皇家美术教育机构。始建于宋徽宗崇宁三年(1104)，附在"书学"之中，统称书画学，是太学中的一个学科。不久，画学便从书画学中分出而独立。画学和太学中其他学科一样，有较完整的管理制度和教学要求。学生来源分"士流"（指有一定社会地位出身的官僚子弟）和"杂流"（指没有社会地位的庶人子弟）。"士流"和"杂流"分别居住，考试也有不同的标准和要求。按照学生成绩的高下分为三舍，先入外舍，再升内舍，最后升上舍。画学的学生和太学中其他学生一样享受推恩法，成绩特优者不经科举考试而推恩得官。画学中设有博士、学正、学录、学谕、学直等负责教学及行政管理。绘画专分为佛道、人物、山水、鸟兽、花竹、屋木等6科。此外还开设有说文、尔雅、方言、释名等学习科目。学习说文要练习篆书和音训，其他课目设立问答，要求能运用这些知识帮助理解绘画，提高艺术修养。宋徽宗大观四年(1110)，对太学中的学科进行改革调整，画学从太学中分出，归入翰林图画院管理。画学有独立的考试制度。其他的"如进士科，下题取士"，往往摘取诗句为题，测验应试者是否善于体会诗人的意趣和是否巧于构思。例如，当时就曾出过这样几个试题："野水无人渡，孤舟尽日横"，优胜者画一舟人卧于舟尾，横一孤笛，巧妙地表现了行人稀少船夫闲待的情态。"乱山藏古寺"，优胜者画荒山满幅，只在山间露出幡竿,以见藏意。"蝴蝶梦中家万里,杜鹃枝上月三更"，优胜者画汉代苏武在北海牧羊时瞌睡的情节，成功地表达了"万里"题意。"竹锁桥边卖酒家"，优胜者画桥头竹外挂一酒旗，以示竹林内有酒家。"踏花归去马蹄香",优胜者画数只蝴蝶飞逐于马后,以表现马蹄带有香气。"嫩绿枝头红一点，动人春色不须多"，优胜者只画绿杨隐映楼台，一美人凭栏而立。可见画学对于培养一个画家具备巧妙、新颖的思致是非常重视的。当然,画学对学生的要求远不止此。据《宋史·选举志》所载，画学"考画之等，以不仿前人，而物之情态形色，俱若自然，笔韵高简为工"，这就是画学所坚持的培养标准和对学生的全面要求。宋代画学设置的时间虽然不长，但是它在美术教育史上却具有不可磨灭的地位。
