摘要早在唐朝时期就已经出现了水墨山水画，在五代十国期间山水画的发展有很大的变化，形成了北派山水画以荆关师徒为代表，南派则以董巨二人的山水画为主，他们在绘画艺术上有着明显的差异，具有各自鲜明的地域特色和艺术风格，北派画风雄伟峻厚;南派柔和平淡。本文主要论述了荆浩，描述他在北方山水画中的地位，以及对他的代表作《匡庐图》的简要介绍，从《匡庐图》中集中展现了荆浩山水画的创作技法，他在传承了唐代的绘画技法的基础上也汇集了自己的思想使之形成了自己独特的山水绘画技法和完整的理论基础，对后世的发展产生了深远的影响。50454

荆浩的《笔法记》是中国绘画理论成熟的标志，《笔法记》是荆浩在亲身感受后总结出的经典理论，荆浩的理论对现代仍有现实意义，是山水画家对自然事物变化的深度追求，也使当代画家在体悟和感受中提高个人素养，其中提出的“六要”是对绘画的实际要求，它在美学史上有独特的贡献。

毕业论文关键词：荆浩；图真论；匡庐图；笔法记

Analysis of Jing Hao's painting from to Kuang Lutu

Abstract

The creation of Lutu Marina Lutu Marina; Dongju, mentoring the development of landscape painting in the early Tang Dynasty had the ink landscape painting, in the Five Dynasties and Ten Kingdoms period has a great change, the formation of the Northern School of landscape painting in Jing as the representative of the southern landscape painting, they in the art of painting has obvious differences, With their own distinctive regional characteristics and artistic style, Northern style grand Jun thick; southern gentle light. This paper mainly discusses the Jing Hao, he described in the northern landscape painting status, and of his masterpiece Kuang Lutu the brief introduces, from Kuang Lutu the concentrated expression of the Jing Hao landscape painting techniques, he passed on Through the Tang Dynasty painting techniques based on the collection of their own ideas to make the formation of their own unique landscape painting techniques and complete theoretical basis for the development of future generations have had a profound impact.

Jing Hao's Brushwork is the sign of the maturity of Chinese painting theory, the Brushwork is Jing Hao in the experience after a summary of the classical theory, Jing Hao's theory of modern still has practical significance, landscape painter of natural things change depth pursuit, the contemporary painter in understanding and feelings in raising the personal qualities, which put forward the "six to" is the actual requirements of painting, which in the history of aesthetics has unique contribution.

Key Words: Jing Hao  true theory of Graphs  Kuang Lutu  Brushwork

 目  录

摘要Ⅰ

Abstract-Ⅱ

目录Ⅲ

一、背景介绍 1

二、山水中的绘画艺术1

（一）有笔有墨、水晕墨章1

（二）大山大水、开图千里1

（三）神形兼备、思致高深2

三、山水画成熟的标志――《匡庐图》-2 

（一）山水画的图真-2（二）对自然的观察和提炼3

四、荆浩的地位及影响 -3

（一）承上启下-3

（二）艺术修养-4

（三）继承创新4参考文献5 

一  背景介绍

唐朝晚年的五代时期，中原地区四分五裂，动荡不安，原来以长安地区为统治中心的局面被打破，在这一时期，由于自然地域条件和一些传统的文化风俗以及经济实力的不同，北方和南方的绘画艺术在艺术特色里产生了较大的差异，北方以荆浩等代表的山水画家，他们为了避开唐末五代的战乱，常年隐居在山林之中，亲身体验北方的大山大水以及山水的厚重、雄奇，荆浩和关仝的山水画是这个时期的绘画代表，而且在山水画的发展史上，他们是承上启下者。 从《匡庐图》分析荆浩的绘画艺术:http://www.751com.cn/yishu/lunwen_53786.html