安多新畫派唐卡畫家東智才旦研究
發(fā)布時間：2018-08-11 10:31
【摘要】：藝術(shù)人類學(xué)基于人類學(xué)學(xué)科理論、立場和方法對藝術(shù)活動進(jìn)行分析和研究。這一研究范式是對傳統(tǒng)藝術(shù)史研究方法的重要補(bǔ)充。在人類學(xué)研究者的介入下,藝術(shù)不再被視為單純的物品,而是一個與社會、文化進(jìn)行互動的生產(chǎn)過程。 本文選取安多新畫派的重要代表人物——青�；√瓶ó嫾覗|智才旦為田野對象,嘗試從其成長背景和藝術(shù)歷程出發(fā),探討畫家如何從傳統(tǒng)唐卡的規(guī)范化、程式化向現(xiàn)代主義藝術(shù)的觀念轉(zhuǎn)變,關(guān)注在這一轉(zhuǎn)變過程中個體畫家如何處理繪畫的“傳承”與“創(chuàng)新”關(guān)系,以及時代如何塑造和影響個體畫家等問題。 在研究方法與研究視角上,作者主要采用人類學(xué)田野調(diào)查的方法獲取本研究所需的基礎(chǔ)資料,以完成民族志的書寫。而在對東智才旦藝術(shù)作品進(jìn)行分析時,則以傳統(tǒng)藝術(shù)史研究所慣用的風(fēng)格、形式分析法為主。兩種研究方法的結(jié)合,使本文作者獲得了全新的、多維度的研究視角,且更加全面而深入地進(jìn)入到研究過程之中。 本文由緒論、正文五大章：節(jié)以及結(jié)論組成。 緒論對本論題研究的可行性(研究對象、選題意義、研究方法以及國內(nèi)外研究現(xiàn)狀)進(jìn)行了分析。第一章從安多地區(qū)的地理歷史背景出發(fā),論及現(xiàn)代藏族繪畫的狀貌以及安多新畫派的興起。第二、三章將筆觸落在東智才旦本身,以口述史的方式呈現(xiàn)東智才旦的成長情況與從藝經(jīng)歷。第四、五章關(guān)注到東智才旦的藝術(shù)作品。通過對其繪畫藝術(shù)語言和藝術(shù)觀念的分析,展現(xiàn)其對傳統(tǒng)藏族藝術(shù)與現(xiàn)代藏族繪畫的態(tài)度。并以東智才旦藝術(shù)的流通方向?yàn)槔?討論了現(xiàn)存的藝術(shù)贊助人與民間畫師合作的新型藝術(shù)贊助關(guān)系。 通過以上論述,本文初步得出以下結(jié)論：安多地區(qū)以其獨(dú)特的地理環(huán)境和厚重的歷史文化孕育了一大批具有革新精神的人才。生長在安多藏區(qū)的東智才旦,在繪畫觀念和技法上突破傳統(tǒng)、力求創(chuàng)新,代表了未來藏族繪畫藝術(shù)發(fā)展的方向。東智才旦的藝術(shù)成就和藝術(shù)貢獻(xiàn)將會影響更多的藏族畫家,成為未來藏族畫壇股不容小覷的力量。
[Abstract]:Art anthropology is based on anthropology theory, standpoint and method to analyze and study artistic activities. This research paradigm is an important supplement to the traditional art history research methods. With the intervention of anthropology researchers, art is no longer regarded as a simple object, but a productive process that interacts with society and culture. This paper selects Dong Zhicaidan, an important representative figure of Ando New School, as the object of the field, tries to discuss how to standardize the traditional Tangka from the perspective of his growing background and art process. The concept of stylization to modernism art has been changed, and attention has been paid to how individual painters deal with the relationship between "inheritance" and "innovation" in painting, and how the times shape and influence individual painters. In terms of research methods and perspectives, the author mainly uses the anthropological field survey method to obtain the basic information needed in this study, in order to complete the writing of ethnography. In the analysis of Dong Zhi-dan 's works of art, the traditional style and formal analysis method of the Institute of Art History are mainly used. The combination of the two research methods makes the author obtain a new, multi-dimensional research perspective, and enter the research process more comprehensively and deeply. This paper is composed of introduction, five chapters: section and conclusion. The preface analyzes the feasibility of this thesis (the research object, the significance of the topic, the research methods and the current research situation at home and abroad). The first chapter discusses the features of modern Tibetan paintings and the rise of Ando New School from the geographical and historical background of Ando. Secondly, the third chapter presents the growth and artistic experience of Dong Zhi-dan in the way of oral history. The fourth and fifth chapters focus on Dong Zhi Dan's works of art. Through the analysis of his artistic language and concept of painting, it shows his attitude towards traditional Tibetan art and modern Tibetan painting. As an example, the relationship between the existing art patrons and folk painters is discussed. Based on the above discussion, this paper draws the following conclusions: Ando region has given birth to a large number of innovative talents with its unique geographical environment and heavy historical culture. Growing up in Ando Tibetan area, Dong Zhi-dan breaks through tradition in painting idea and technique, and strives to innovate, which represents the direction of Tibetan painting art development in the future. Tung's artistic achievements and contributions will affect more Tibetan painters and become a force to be reckoned with in the Tibetan painting world in the future.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205
本文編號：2176739
[Abstract]:Art anthropology is based on anthropology theory, standpoint and method to analyze and study artistic activities. This research paradigm is an important supplement to the traditional art history research methods. With the intervention of anthropology researchers, art is no longer regarded as a simple object, but a productive process that interacts with society and culture. This paper selects Dong Zhicaidan, an important representative figure of Ando New School, as the object of the field, tries to discuss how to standardize the traditional Tangka from the perspective of his growing background and art process. The concept of stylization to modernism art has been changed, and attention has been paid to how individual painters deal with the relationship between "inheritance" and "innovation" in painting, and how the times shape and influence individual painters. In terms of research methods and perspectives, the author mainly uses the anthropological field survey method to obtain the basic information needed in this study, in order to complete the writing of ethnography. In the analysis of Dong Zhi-dan 's works of art, the traditional style and formal analysis method of the Institute of Art History are mainly used. The combination of the two research methods makes the author obtain a new, multi-dimensional research perspective, and enter the research process more comprehensively and deeply. This paper is composed of introduction, five chapters: section and conclusion. The preface analyzes the feasibility of this thesis (the research object, the significance of the topic, the research methods and the current research situation at home and abroad). The first chapter discusses the features of modern Tibetan paintings and the rise of Ando New School from the geographical and historical background of Ando. Secondly, the third chapter presents the growth and artistic experience of Dong Zhi-dan in the way of oral history. The fourth and fifth chapters focus on Dong Zhi Dan's works of art. Through the analysis of his artistic language and concept of painting, it shows his attitude towards traditional Tibetan art and modern Tibetan painting. As an example, the relationship between the existing art patrons and folk painters is discussed. Based on the above discussion, this paper draws the following conclusions: Ando region has given birth to a large number of innovative talents with its unique geographical environment and heavy historical culture. Growing up in Ando Tibetan area, Dong Zhi-dan breaks through tradition in painting idea and technique, and strives to innovate, which represents the direction of Tibetan painting art development in the future. Tung's artistic achievements and contributions will affect more Tibetan painters and become a force to be reckoned with in the Tibetan painting world in the future.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205
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