本文選題：唐代工筆仕女畫 + 紋飾圖案�。� 參考：《西安美術(shù)學(xué)院》2017年碩士論文

【摘要】：唐代是中國傳統(tǒng)工筆人物畫發(fā)展的鼎盛時期,特別是卷軸式的工筆仕女畫是這一時期人物畫中的典范之作,以其鮮明的民族風(fēng)格和獨(dú)特的藝術(shù)表現(xiàn)形式屹立于世界繪畫史中,閃耀著永不泯滅的光輝。唐代工筆仕女畫在造型、色彩、線條、構(gòu)圖上都有著獨(dú)特的藝術(shù)魅力,其中紋飾圖案的運(yùn)用更是一大顯著的藝術(shù)特點(diǎn)。本文從紋飾圖案的載體唐代工筆仕女畫入手,梳理唐代工筆仕女畫產(chǎn)生的背景和發(fā)展歷程,從而引申出唐代紋飾圖案在不同時期繪畫作品中的演變。通過唐代紋飾圖案的剖析與研究總結(jié)出大體的種類以及時代性、地域性和民族性特征,同時針對唐代工筆仕女畫中涉及到的具體紋飾圖案對其進(jìn)行細(xì)致分析研究,揭示其體現(xiàn)的人文意義。從“六法”的角度來探究唐代工筆仕女畫及紋飾圖案所體現(xiàn)的人文意義,論述人文意義對唐代工筆仕女畫紋飾圖案造型、線條、色彩產(chǎn)生的影響。分析研究唐代工筆仕女畫中大唐麗人華服和其中紋飾圖案的裝飾性,引出唐代工筆人物畫的“賞觀”屬性、它是社會審美與畫家個人心理審美的體現(xiàn),是人文思想的基礎(chǔ)要求,是唐代社會文化自信的體現(xiàn),這種以文化自信為主的人文意義表現(xiàn)在對世界各國文化產(chǎn)生的深遠(yuǎn)影響上。文章的最后論述了當(dāng)下新生文化元素中紋飾圖案體現(xiàn)的人文意義,畫面中紋飾圖案的運(yùn)用以及紋飾圖案對畫面關(guān)系的協(xié)調(diào)。通過研究唐代工筆仕女畫紋飾圖案體現(xiàn)的人文意義啟發(fā)了我對繪畫元素的新認(rèn)識,提升了工筆人物畫創(chuàng)作在美學(xué)層面的高度。
[Abstract]:The Tang Dynasty was the heyday of the development of Chinese traditional fine brushwork figure painting, especially the fine brushwork of fine brushwork in this period was the model of figure painting of this period, and stood erect in the history of world painting with its distinctive national style and unique artistic expression form. Sparkles the eternal brilliance. The fine brushwork painting of Tang Dynasty has unique artistic charm in shape, color, line and composition, among which the use of pattern is a remarkable artistic feature. This paper starts with the carrier of the pattern of fine brushwork of Tang Dynasty, combs the background and development of the painting of fine brushwork of Tang Dynasty, and then generalizes the evolution of the pattern of decorative pattern of Tang Dynasty in the painting works of different periods. Through the analysis and research of Tang Dynasty decorative patterns, the author summarizes the general types and the characteristics of the times, regions and nationalities, and makes a detailed analysis and study on the specific patterns involved in the fine brushwork paintings of the Tang Dynasty. To reveal the humanistic significance of its embodiment. From the angle of "six methods", this paper probes into the humanistic significance of fine brushwork paintings and decorative patterns in Tang Dynasty, and discusses the influence of humanistic significance on the patterns, lines and colors of fine brushwork paintings in Tang Dynasty. This paper analyzes and studies the decorative features of the beautiful people in the Tang Dynasty and their decorative patterns in the fine brushwork paintings of the Tang Dynasty, and leads to the "appreciative view" attribute of the fine figure paintings of the Tang Dynasty, which is the embodiment of social aesthetics and the individual psychological aesthetics of the painters, and the basic requirement of the humanistic thought. It is the embodiment of social and cultural self-confidence in Tang Dynasty. Finally, the article discusses the humanistic significance of decorative patterns in the emerging cultural elements, the application of decorative patterns in the screen and the coordination of decorative patterns to the picture. By studying the humanistic significance of the fine brushwork painting patterns in the Tang Dynasty, I have inspired my new understanding of painting elements and promoted the creation of fine brushwork figure paintings at the aesthetic level.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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本文編號：1952547