南阳汉画像石的龙图像对现代设计的新启示

发布时间：2018-02-15 19:33

本文关键词： 汉画像石龙图像艺术设计形式美新启示　出处：《陕西师范大学》2012年硕士论文　论文类型：学位论文

【摘要】：两汉时期在中华文化形成特殊的地位。前承周秦、后启隋唐,为两千多年的中国封建社会奠定了基础,流放周边诸国。汉文化是华夏文化的杰出代表,汉代的画像石文化是一项丰富特色的艺术遗产。在我国,专门陈设展示汉画像石艺术的专业博物馆有十多个,有哪个艺术形式享有如此的殊荣?二十世纪五年代以来,我国对画像石的研究,多从史学的角度入手去探讨研究,那么,从艺术的层面进行探究的分析就显得薄弱了很多。作为造型艺术精品的画像石的珍贵的艺术价值还有待研究、利用和分析。从这个意义上来讲,这个距离今天大约二千年历史背景的艺术精品,是两千年以前最直观的形象表现,也是唯一用模写的形式记录下来的当时的社会现象。和其他艺术形式不同,汉代的画像石可以说包罗万象,浩瀚无穷。作为我国艺术史上的奇葩的汉画像石,被专家称之为“敦煌前的敦煌”。汉代特定的政治与文化背景对汉画像的价值取向产生了重要的影响作用,自然力量的巨大和神奇是汉画像孕育艺术美的重要动力。历史悠久,辉煌灿烂的龙图像是汉画像石艺术重要的组成部分。而本篇文章撰写的意义就在于此,通过对汉画像石文化中龙图像这一传统图像元素进行分析和研究。首先重点解析出汉人喜欢用龙做装饰的原因何在、目的何在、意义何在,然后探究龙这一传统图像在汉代的南阳汉画像石中的文化含义、形态美感,以及新世纪中的现代人对汉龙图像在思想上和造型设计上的沿用和传播。本论文分别从五部分进行论述：第一部分,是绪论部分,主要阐述了本论文的研究目的和研究意义,研究手段和创新之处。第二部分,先简要介绍不同地区汉画像石的起源,从而具体的分析探讨南阳的汉画像石和南阳汉画像石的龙图像独特的传承和奇特之处。第三部分,是本文的核心部分。结合南阳不同墓区中的龙图像的造型形式,分析龙图像的形式美感。本章内容分为了六个小节,分别是唐河墓区的龙图像、方城墓区的龙图像、邓县墓区的龙图像、卧龙区墓区的龙图像、宛城区墓区的龙图像、南阳市区墓区的龙图像,展示和分析了各个墓区的龙形象的形式美感。第四部分,通过对现代艺术作品中龙图像的形式美感分析,说明传统龙图像对社会的影响和传播意义。第五部分,本文结语部分,主要是强调了现代设计师在设计中要注意传统与现代的结合,延续和发展。
[Abstract]:The Han Dynasty formed a special position in the Chinese culture. It was the foundation of the feudal society of China for more than 2,000 years and exiled the neighboring countries. The Han culture was an outstanding representative of the Chinese culture. The stone relief culture of the Han Dynasty is a rich artistic heritage. In our country, there are more than a dozen specialized museums dedicated to displaying the stone relief art of the Han Dynasty. Which art form enjoys such a special honor? Since the fifties in 20th century, the study of stone portraits in China has been studied from the perspective of history. The analysis of inquiry from the artistic level appears to be much weaker. The precious artistic value of stone relief as a fine plastic arts remains to be studied, used and analyzed. In this sense, This fine work of art, which is about 2,000 years from today's historical background, is the most intuitive image of the two thousand years ago, and the only social phenomenon recorded in the form of a model written at that time. It is different from other forms of art. Han Dynasty stone relief can be said to be all-encompassing, boundless. As a rare flower in the history of Chinese art, Han stone is called "Dunhuang before Dunhuang" by experts. The specific political and cultural background of the Han Dynasty had an important influence on the value orientation of the Han Dynasty portrait. The great and magical nature force was the important motive force for the artistic beauty of the Han Dynasty portrait, which had a long history. The splendid dragon picture is like an important part of the art of stone relief in the Han Dynasty. And this is the significance of this article. Through the analysis and study of the traditional image element of dragon image in the stone relief culture of Han Dynasty, this paper analyzes the reason why Han people like to use dragon as decoration, the purpose and significance. Then it probes into the cultural meaning, the aesthetic sense of form and the use and dissemination of the traditional image of the dragon in the Han stone of Nanyang in the Han Dynasty, as well as the ideological and styling design of the Han dragon image by modern people in the new century. This thesis is discussed in five parts:. The first part is the introduction part, mainly expounds the research purpose and significance, research means and innovation of this paper. In the second part, the origin of Han stone in different areas is briefly introduced, and the unique inheritance and peculiar place of Nanyang Han stone and Nanyang Han stone dragon image are analyzed concretely. The third part is the core part of this paper. Combined with the form of dragon images in different tombs in Nanyang, the aesthetic sense of dragon images is analyzed. This chapter is divided into six sections, which are dragon images in Tang River Tomb area. The dragon images of Fangcheng Tomb area, Deng County Tomb area, Wolong Tomb area, Wancheng City Tomb area and Nanyang City Tomb area are shown and analyzed. In the 4th part, through the analysis of the aesthetic sense of the dragon image in the modern art works, the influence of the traditional dragon image on the society and its spreading significance are explained. Part 5th, the conclusion of this paper, mainly emphasizes that modern designers should pay attention to the combination of tradition and modern design, continuity and development.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：K879.4

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