文献类型：期刊文献

中文题名：略论中国山水画理论体系之嬗变

英文题名：A Summary of the Transmutation on the Theory System in Chinese Landscape Painting

作者：李俊[1]

机构：[1]绍兴文理学院美术学院

年份：2010

期号：1

起止页码：112

中文期刊名：东南文化

外文期刊名：Southeast Culture

收录：CSTPCD、、北大核心2008、CSSCI2010_2011、北大核心、CSSCI

语种：中文

中文关键词：山水画;理论体系;嬗变

外文关键词：landscape painting; theory system; transmutation

中文摘要：山水画的发展本身就是中国传统文化发展的组成部分,没有传统文化的引导,不可能产生独具特色的山水画艺术。研究山水画创作过程中追求"空灵"、"意境"等表现动机,研究画面构成中的"虚"与"实"等的真正内涵,无不从传统文化谈起,尤其是山水画的创作进入我国经济文化空前发展的二十一世纪之后,梳理山水画发展的理论体系,将有十分重要的指导意义。

外文摘要：As a constituent element of the traditional Chinese culture, landscape painting itself relies on the guidance of the traditional culture on its course of development, which accounts for the uniqueness of landscape painting. The pursuit of the so-called ＂intangibility＂, ＂artistic conception＂ and other means of art demonstration, including the essence of ＂falsehood＂ and ＂reality＂ in the painting composition, goes nowhere without the guidance of traditional culture. Therefore, some clarification of the theory system of landscape painting would shed light upon its development in the 21st century.