绘画美学

邓以蛰绘画美学思想初探

The Preliminary Studies on Deng Yi-Zhe 's Painting Aesthetics Ideas

境生象外&中国古典绘画美学的人生观照

The Outlook on Life of Classical Chinese Painting Aesthetics

论中国古代绘画美学中的象

On the likeness of ancient Chinese drawing aesthetics

这是解读刘海粟绘画美学思想不可忽略的背景。

It can not be ignored the theoretical background of his aesthetics education thought .

用以形写神、迁想妙得等观点统一起来，建立了绘画美学系统，为中国绘画美学的发展奠定了深厚的基础。

What he did laid the solid foundation for the development of China painting aesthetics .

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

戏中有画画中有戏&同源异派的中国戏曲与中国绘画美学思想比较再论

Painting in Me and Drama in Painting & Aesthetic Comparison Between Chinese Opera and Chinese Painting

虚实关系是中国绘画美学的重要课题，虚实对比显示中国画的意境美。

The relationship between nothingness and essence is an important subject in Chinese aesthetics of painting .

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 .

中国绘画美学史上的托古改制与误读

The " Reform Under the Cover of Antiquity " and " Misinterpretation " in Chinese Painting Aesthetics History

这种美学建构对后世中国绘画美学和艺术产生了持续的影响。

Construction of this aesthetic will have a sustained impact for the future aesthetics of Chinese painting and art .

这三方面表现出荆浩对中国绘画美学思想的承续与拓展，从而开创北宋以下千年绘画之新局面。

The above were the contribution of Jinghao to Chinese drawing and he started the new phase from North Song Dynasty .

形与神是中国古典绘画美学中的核心命题。

" Shape " and " essence " is the core of the proposition in the aesthetics of classical Chinese painting .

这三大问题本来就是中国整个绘画美学，不断在讨论的问题，元代以前已有过不少重要的论述。

These three questions were originally constantly discussed in the whole of China painting aesthetics . There had been many discusses before Yuan Dynasty .

本文接下来重点讨论了梅清绘画美学思想及其绘画美学思想正反两方面的意义。

The next part mainly discusses Mei Qing 's thoughts on aesthetics and his positive and negative significance when his painting is taken into consideration .

第六章对倪瓒作品作一个美学的分析，以印证他的绘画美学思想。

In the sixth chapter discuss the works of Ni Zan and entered into the analysis of his painting style , and prove his painting aesthetics .

中国古代绘画美学源远流长，在理论和实践两方面都有重要的价值。

There is a long history in the process of the development of Chinese painting esthetics and there is both a theory and a practice value of its own .

造成这种局面既有历史原因，也有其理论自身原因。刘海粟的绘画美学理论深广，但不够系统，缺乏严谨的理论框架。

This situation was not only caused by historical reasons , but also the theory itself , for his aesthetic thought is unsystematic and lack of rigorous theoretical framework .

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 .

应该说，魏晋南北朝的绘画美学和批评理论构成了人物画审美研究的一个重要组成部分。

It can be said that aesthetics of painting and critical theory during Wei-Jin period and Northern and Southern Dynasties constituted the part and parcel of the aesthetic analysis of the art form of figure painting .

然后在此基础上，深入研究了构成石涛绘画美学思想体系的一画、我、法等三个核心概念。

Then , on this basia , it studies further the three concepts " one painting ", " I ", " way " etc , which constitute the core of the system of his painting aesthetic thoughts .

艺术史的发展表明每一时代不同艺术风格的演变对艺术价值的确立，都体现在其绘画美学观上，围绕对其不同的理解和阐释，引发出各种艺术问题。

The developments of the art history reveals that the development of the different art styles to the establishment of the artistic value are impressed in painting aesthetics , and these styles result in various artistic questions .

他的抽象绘画美学理论对于色彩、绘画的形式（点、线、面）、绘画表现的重点都有独到的见解。

There are original views about the key points of the color and the form of the painting ( the point , the line , the surface ), and the performance of painting in his abstract painting esthetics theory .

本文以现代美学理念，主要从三个方面分析与探讨了顾恺之传神论绘画美学思想的形成与特点。论文首先分析了顾氏绘画艺术实践的美学倾向；

Based on modern aesthetic idea , this article analyses and discusses the formation and characteristic of Gu 's painting aesthetic idea of " spirit-giving " theory in such three aspects : first , Gu 's aesthetic inclination of painting practice ;

六朝时期既是中国山水绘画美学的兴起期，又是佛学以独立哲理形式深入中国本土文化结构并成为当时主流思想的重要时期。

The period of the Six Dynasties is not only the initial stage of Chinese traditional aesthetic thoughts on mountains-and-waters painting , but also the important epoch in which Buddhism had been deep into the structure of Chinese native culture and the main current ideology in those days .

题画诗是中国古代文学、绘画、美学等高度发展并相互融合的产物。

Painting Poems are products cultivated by integrating Chinese Painting and Poem which on high degree of development .

在中国传统绘画的美学体系建构上，形式美是一个非常重要的环节。

In the aesthetics system form of Chinese traditional painting , the beauty of form is a very important tache .

从主、客体不同的两方面对绘画进行美学研究。使得形与神在绘画上开始对立起来。

Thus , the appearance and the spirit are presented through the objective and subjective study of the painting aesthetics .

中国古典绘画的美学思想及理论框架，是在中国古代哲学观念影响下而逐渐发展成熟的。

Under the influence of Chinese ancient philosophical concepts , the aesthetic idea and theoretical structure of the Chinese drawing grew into maturity .

第三部分论述了图像时代绘画的美学转向，从消费时代所带来的审美泛化和快餐文化两方面阐述。

The third part discusses the painting of the Image era aesthetic turn , made it clear from the consumer era aesthetic generalization and fast food culture .