文人山水画与浪漫派风景画审美表现自范宽至弗里德利希研究.pdfVIP

Summary – 摘要 The idea of this thesis and its development, has been formed gradually Over the years I have studied in China Academy of Art. What started as a timid approach to Chinese painting, culminating in a serious attraction to traditional Chinese landscape painting. Friendships with Chinese teachers and artists, and direct contact with the world of Chinese painting, and philosophy, put al-unknown aspects of the mentality of many western-most philosophical and not discovered this amazing abilities thousand civilization, but the and spirit of ancient Chinese painting. What surprised me most from traditional painting, is the mystical attitude is perceived after the mists, mountains, and rivers, the Chinese landscape, especially in some Taoist paintings artists. Delve into the aesthetic concepts of Taoism is a plot of the peep more genuine Chinese spirituality into the nature and revive with renewed intensity, landscape emancipate historical dependence of the characters, for all that, to draw parallels between this painting and landscape painting in Europe, is to initiate a review of the role that nature has played in the Western and Chinese painting, and the relationships that it has established with man through art, at times reaching common conclusions . During my Bachelor of Fine Arts in Spain, in the history of art classes I began to better understand the aesthetic ideas of Western art, and especially my attention the concepts related to romantic art. Coincidentally, one of the leading exponents of romantic art, Caspar David Friedrich (1774-1840), it was revealed during this research as one of the key figures of the thesis, when compared to European and Chinese artists, making it possible to gather the Scenic two approaches in a