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摘要山水画在我国有着悠久的历史，从两汉三国时期仅作为人物背景萌芽开始，到东晋南北朝逐渐从人物画的背景脱离，此时的山水画处于“人大于山”、“水不容泛”的状态，树石皆是早期幼稚阶段。但在通过对人物画技法的继承以及发展，使得山水画技法不断成熟，山水画也成为了我国一大门类。在笔法上，有“空勾无皴”发展到皴擦点染皆具；在墨法上，由平涂与分染中发展了积墨法、破墨法等；在色法上，则有浓艳的青绿发展到了淡雅的水墨；造型上，意象造型一直占据主要地位。通过对早期山水画技法的研究，了解山水画的发展，学习画法技巧，借鉴古人的笔墨，把精微的笔墨语言加以分析、研读，最后运用到创作中，做到“法为我用，我用我法”。49385
毕业论文关键词：笔法；皴法；墨法；色法
Try to talk about the early landscape paintings on the inheritance and development of figure painting techniques
Abstract
Landscape painting has a long history in our country, since only in the three periods as background bud, to gradually from the background of the figure painting of the northern and southern dynasties from eastern jin, at this time of landscape painting in the "National People's Congress in the mountain", "water is a generic" state, the tree stone are early juvenile stage. But through the inheritance and development of figure painting techniques, makes the landscape painting techniques matures, landscape painting became a large category in our country. In prose, there are "empty hook without Cun" touched as well as to CunCa; On the ink presentation, the flat coated with points in dyeing JiMo method, PoMo method, etc.; On the color method, has more green to the ink of quietly elegant; On modelling, image modeling has been occupied the main position. Based on the research of the early landscape painting techniques, to understand the development of landscape painting, painting skills, learn from the ancients of the ink, pen and ink language analysis, to study the subtle, finally applied to the creation, do "method for me to use, I use my method".
Key Words: Brushwork Cunfa Pen and ink method Methods of color
目 录
摘要-1
Abstract-Ⅱ
目录Ⅲ
一、综述-1
二、早期山水画对人物画技法的继承-1
（一） 早期山水画对人物画笔法、墨法、色法上的继承-1
（二） 早期山水画对人物画造型的继承 2
三、早期山水画对人物画技法的发展-3
（一）笔法的发展-3
（二）墨法的发展-5
（三）色法的发展-6
（四）造型的发展-7
参考文献8
一 综述
我们中华民族五千年，一代代中华儿女在这片土地上生衍繁息着，绘画也伴随着我们中华文明的进步而发展，我们人民向来都是热爱生活，热爱大自然的。绘画中所谓的鸟书、卦象、河图等，都源于对自然的观察和对生活的热爱。而参与这些活动，则必然有人物，渐渐地人物画产生，到汉代，人物画已经发展成熟，不管是从造型，还是技法以及色彩上都是我们谓之感叹的。而山水画作为人物画背景，渐渐脱离人物画，继承了人物画的技法，又发展了人物画的技法，形成了新的山水画技法。例如，在山水笔法方面，由“空勾无皴”，到“皴擦皆具”，再到皴法的百花齐放；在山水墨法方面，有泼墨、破墨、积墨等；色彩方面，西汉T型帛画，是我们对色彩早期应用有一个准确的了解，而壁画色彩也非常的的丰富艳丽，而山水画中色彩的运用，可以从唐代李家父子的青绿山水中看到端倪，而另一种则为以王维为代表的文人画，布色典雅。