頁籤選單縮合
題名 | 由「宣和畫譜」的繪畫美學看宋徽宗時代畫院風格的師承 |
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作者姓名(中文) | 蕭百芳; | 書刊名 | 南臺工商專校學報 |
卷期 | 21 1995.04[民84.04] |
頁次 | 頁103-118 |
分類號 | 944.951 |
關鍵詞 | 宣和畫譜; 繪畫美學; 宋徽宗; 畫院; Xuanhe huapu; The painting aesthetics; Songhuizong; Painting acedemy; |
語文 | 中文(Chinese) |
中文摘要 | 中國的藝術盛世,首推宋朝的徽宗時期。當時在繪畫方面,除大量收藏歷來的名 作外,最為人所稱許的是著書闡述繪畫美學思想的《宣和畫譜》,與大力支持培育繪畫人才 的畫院。以藝術社會學的角度觀察,當朝的藝術活動與藝術思潮兩者,並非是獨立互不相干 的個體,反而兩者應是相互的影響,而且應與當時的社會人群的種種思維產生互動。本文藉 由藝術社會學的角度來探研,以碩士論文-<《宣和畫譜》研究>為基礎,來探討宋徽宗時 代的繪畫美學理論及社會政治思維,是否與當時實際的畫院繪畫風格的師承情況相一致。 |
英文摘要 | It was the eminentest time in the history of Chinese art when Songhuizong was crowned as the emperor of Northern Sung dynasty. Beside collecting actively great amount of famous works that had been preciated for a long time, some other achievements deserved to mention at that time were the writing of "Xuanhe Huapu" on the one hand, which functioned as the interpretative and diffuse institution of some certain painting-aesthetic thought, and the establishing of the Painting Academy on the other hand, which aimed at cultivating painting artisans. From the pointview of sociology of art, both the artistic activities and the artistic thought in the same period were not two indifferently individual autonomies. Inversely, they were the both that influenced each other closely, and should had some interactive relations with the ethos which responsed closely to the mass. From the perspective of sociology of art, this paper, basing on my master thesis "Research of "Xuanbe Huapu", will attempt to interprete the painting aesthetics and socio political thought of the Songhuizong period, and hence, on so kind of foundation, to declare whether there exisited any correspondent or casual relationship betweem the previous research result and the genealogical discipline of the painting Academy of the same period. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。