石涛

石涛在中国古代绘画史上占有十分重要的位置。

Shi Tao in ancient Chinese painting occupies very important position .

论石涛对自然美质的理解

On Shi Tao 's understanding of the beauty of nature

很长一段时间石涛都在过着浪迹天涯的生活。

Shi led a wandering life for a long time .

石涛试图以哲学的高度，把他对绘画的全部认识贯通起来。

Using chinese philosophy , Shi Tao try to explain his painting thought .

石涛认为他的画不象古人也不象今人。

Shi Tao that his painting not as the ancients did not like modern people .

自然的与自由的&石涛与当代艺术随感

" Natural " and " Free " & Impression of Shi Tao and Contemporary Art

论石涛绘画美学思想中主体意识的特色

Discussing the Characteristics of Shi Tao 's Principal Consciousness in His Aesthetic Thought on Paintings

最后详细地阐述了儒、道、释三家思想对石涛绘画美学思想的影响。

Finally , it expounds the influence from Confucianism , Buddhism , Taoism to his aesthetic thoughts .

石涛一生的三个阶段

Three Stages of Shi Tap

我对石涛绘画语言中点的写意性的研究，对我的创作也有极大的指导作用。

My mid-point of Shi Tao , Freehand painting language study , my writing has a great guide .

石涛的原因就是客观外部的原因和主观内部的原因两方面因素。

Shi Tao reason for this is the objective and subjective reasons for external reasons within two factors .

石涛的《画语录》被认为是中国古典美学发展史上的重要里程碑。

Discourse On Landscape of Shi Tao was considered to landmark of the Phylogeny of Classical Aesthetics in China .

从物象空间到心灵空间&石涛片石山房设计释读

From Material Space to Soul Space & Interpreting the Garden of Pian Shi Shan Fang Designed by Shi Tao

石涛一画论内部诸要素之间的相互对话和辩难将语言的或者技法的循环转化成本体循环，将艺术的创造转化为哲学的沉思。基于笔刷的多风格艺术绘制

The brushstroke theory transformed language and skill in drawing to philosophy . Various Style Painterly Rendering Based On Brush Stroke

因为石涛站在哲学的角度论述绘画艺术的理论问题，创建了自己的绘画审美体系。

From a philosophy angle , Shi Tao elaborated on theoretical problems of painting and set up his own painting system and aesthetic notion .

60多年来，随着新的材料陆续发现、研究视角不断转换，石涛研究逐步走向深入。

In six decades years , the research of Shi Tao deepened gradually , as developing new material and changing angle of view of research .

从石涛绘画作品的角度来讲，万点恶墨满纸飞舞，不落窠臼，清新洒脱。

Paintings from the perspective of Shi Tao , Mexico Full of evil flying million points , original style , fresh and free and easy .

虽然他会在其中挣扎和徘徊，但是正是这些独特的惆怅才造就了不一样的石涛。

It is this special anxiety that brings up particular painter named Shi Tao although he may struggle and hesitate in the road to success .

本文试图从中国山水画的构成语言点、线、面的角度去理解山水画理论精髓的石涛一画之理。

This article tries to understand " A Painting " from the angle of points , lines and sides as Chinese landscape painting composition language .

中国花鸟画是中国绘画艺术的重要组成部分，在艺术史上创造一个又一个高峰，并表现出了不同的时代风格，正如清代石涛所言“笔墨当随时代”。

Chinese flower-and-bird painting is an important part in Chinese painting ; it creates several peaks in art history , and shows different styles in periods .

石涛运用鸟瞰的视觉构图来描写山水空间之广阔，与人物细节的丰富效果。

By employing an overlooking prospective , he captures the spatial vastness of mountains and rivers , and the rich effect of the character 's details .

文章开篇以《石涛画语录》中的一句话为引子，导出后文的诸多理念。这一章节主要介绍问题的起因、学术界的研究成果以及诗美学对本文的启示。

This chapter mainly introduces the cause of the issue , the research achievements of academic circles , and poetic aesthetics on the enlightenment on this paper .

在中国绘画史上，清代画家石涛是屈指可数的伟大人物之一。

In the history of Chinese painting , Shi Tao , a painter of Qing Dynasty , is one of the great figures that can be numbered .

本文为清初四僧之一的石涛绘画题跋书法专题研究。石涛是一个极其复杂的人物。

This thesis provides a monographic study on the works of calligraphy by Shi Tao , one of the " Four Monks " in the early Qing Dynasty .

石涛的艺术影响深远，他的书法成就为理论与绘画之名所掩。

Shi Tao exerts great and far-reaching influence on the development of art , but his achievements in calligraphy are somewhat overlooked for his fame in theory and painting .

石涛绘画美学思想和绘画实践，产生于这一文化转向和哲学嬗变之中，和时代的哲学思想、文学理论、艺术潮流都有密切的关系。

Painting Aesthetics thinking and painting practice of Shi Tao was born in the changing of culture and philosophy transformation , tied in philosophy , literature theory and artistic tide .

我自有我法的中西体现&谈石涛与塞尚山水风景画的自我艺术风格

The Chinese and Western Embodied of " I own my Law ", Discuss about the Drawing of Shi Tao and Cezanne on the Landscape of " Self " Artistic Style

作为明朝遗民的艺术家石涛，从人生开始，便纠结上一个根深蒂固的“屈原情结”：恋君与自恋。

Shi tao , as an artist and adherent of Ming dynasty , was born with a " qu yuan complex ": a combination of loyalty to the emperor and narcissism .

明清时期，中国画坛革新派代表石涛提出的“一画”论，与西方现象学大师海德格尔基于对真理本质思考得出的艺术“澄明”之境，具有相通的内涵。

It is similar to " lighting " proposed by Haidegger , a great master of the Western phenomenology , who pondered over the essence of truth and advocated the theory .

我们认为，一画的理论基础是中国传统的生生哲学，是石涛用生生哲学思想来对绘画艺术创造问题的一种理论阐释。

To us the theoretical base of " Yi Hua " is the traditional Chinese philosophy . With the philosophical thought , Shi Tao theoretically explained the " creation " of painting art .