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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/87772

    Title: 吳鎮及其<<墨竹譜>>之研究
    Other Titles: A study of Wu-Zhen and his <<Mo-chu-pu>>
    Authors: 涂佩芸;Tu, Pei-Yun
    Contributors: 淡江大學漢語文化暨文獻資源研究所碩士班
    Keywords: 吳鎮;墨竹譜;文與可;蘇軾;墨竹;題畫;審美意識;Wu-Zhen;Mo-Chu-Pu;Su Shi;Yen Yu-ke;Ink Bamboo;inscriptions on paintings;Representation of Aesthetics
    Date: 2012
    Issue Date: 2013-04-13 11:43:58 (UTC+8)
    Abstract: 中國畫之特點在於人與自然的融合。吳鎮《墨竹譜》巧妙地將畫家獨屬的人格特質與對人生、自然感悟呈顯於畫間筆墨,其胸臆思想的揉納及創作的美感意識,必要自畫家本身之思想構成、人文環境與藝術歷程等進行探知,於品賞其書畫真蹟或有更充實的了解。《墨竹譜》美的表現與創作價值的衡量,並不僅止於畫面竹的各種形態,而是在於內在全面的筆墨、氣勢、韻致、創造及人品德性等。本文除於吳鎮家世生平研究上著力外,並對《墨竹譜》之畫作解析,如墨竹形態、畫面處理、筆墨運用,以及此譜的呈象意義與特色內涵等,依循吳鎮墨竹所創造的個人審美意識,更得貼近一代墨竹大師之竹畫視界與創作風範。

    The characteristic of Chinese drawings is integration of human and nature. Wu-Zhen artfully presents his unique personality and his feeling of life and nature into “Mo-chu-pu”. In order to better know Wu-Zhen’s creative thinking and aesthetic feeling, we have to investigate his constitution of thinking, cultural environment and art experience. So we can enjoy his works in deep way. Beauty and creative value of “Mo-chu-pu” is not only various shapes of bamboos but also internal and overall momentum, charm, creation and morality. Besides investigate We-Zhen’s birth and life, this thesis analyzes the drawings in “Mo-chu-pu” according to Wu-Zhen’s personal beauty sense. For example bamboo shapes, appearance and construction of a picture, movement of painting, usage of ink and its meaning and intension. Then we can get closer to a master’s bamboo painting vision and absolute masterly caliber.

      The thesis is divided in to 6 chapters. The first chapter describes research motive, literature reviews, research methods and research range. Chapter 2 discusses art development and main characteristics of Chinese penmanship and drawing, relative essays and different sects. Then we can understand art value and meaning of Wu-Zhen “Mo-chu-pu” in Chinese bamboo painting field. And discuss the relation between traditional bookman and traditional Chinese bamboo painting in broad sense. Chapter 3 discusses Wu-Zhen’s birth and life and his painting and penmanship works. Especially we compare “Yi-shih-wu-gong-mu-ming” and “Yi-men-wu-shih-pu” so that we make a thorough inquiry of his growing environment, family and tales. Chapter 4 analyzes “Mo-chu-pu” content including construction of pictures, bamboo appearances, movement of painting and usage of ink. And make annotations and classifications of works in the “Mo-chu-pu”. Chapter 5 brings up art perception of “Mo-chu-pu” and further explores the beauty sense created by Wu-Zhen’s Chinese bamboo painting. The last chapter integrates all research results and describes the historical and inheritance value of Wu-Zhen and his bamboo painting to Chinese painting field.
    Appears in Collections:[漢語文化暨文獻資源研究所] 學位論文

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