唐代墓室壁画禽鸟图像研究

发布时间：2018-05-12 21:28

本文选题：墓室壁画 + 禽鸟题材　；参考：《中央美术学院》2011年硕士论文

【摘要】：壁画,目前已经成为一门重要的艺术学科,在各大美术院校均有丌设。然而,作为深受西方绘画影响的学科如何积极吸取本土的创作语言仍然是值得再继续深入探讨的课题。中国有着悠久的绘制壁画的传统,从鲁灵光殿,到西汉麒麟阁,到唐代凌烟阁,再到敦煌现存的大量佛教壁画等等；除却文献记载和地上现存的丰富资料,在地下还存有更为丰富的资料——墓室壁画。中国自西汉起就有绘制墓室壁画的传统(甚至还可以早到前秦或秦代,只是相关的资料并未发掘),至唐代墓室壁画,其所表现的内容已经深入到社会生活的各个方面,且技法也日益成熟。因此,当代的壁画学习和创作是不能够简单地抛开这些丰富的资料而独自进行的,如何吸取中国传统的壁画尤其是近些年才刚刚被发现的曾经被忽视的大量墓室壁画的语言和技法仍然是一个重要的课题。本文将主要以唐代墓室壁画为研究对象,并着重研究唐代墓室壁画中大量存在的“禽鸟图像”。在今天我们的一般观念中,甚至在很多的研究著作中,唐代的“禽鸟图像”一般都被归为花鸟画的领域进行研究,显然,这种以后来的概念研究前代课题的方式并不十分妥帖。所以本文的研究选取了“禽鸟”题材的图像为研究对象,并将之置于唐代墓室壁画的范畴和环境之内进行重新观察。本文的题目为“唐代墓室壁画禽鸟图像研究”,也正是基于美术学壁画专业的考虑和绘画史研究的需要,对唐代墓室壁画中出现的禽兽图像进行全面而系统的分析研究,不仅关注艺术风格的转变,并且也将试着探讨在唐代墓室壁画中禽鸟图像的艺术风格的转变其背后的原因和意义,从而不仅弥补中国美术史研究中的一处重要缺失,更旨在为当代壁画教学和创作寻找创作元素和绘画语言。
[Abstract]:Murals, which have become an important subject of art, have been developed in various art colleges and universities. However, as a subject deeply influenced by Western painting, how to absorb the native creative language actively is still a subject worthy of further discussion. China has a long tradition of painting murals, from the Lulingguang Temple to the Kirin Pavilion in the Western Han Dynasty, to the Lingyan Pavilion in the Tang Dynasty, to the large number of Buddhist murals existing in Dunhuang, and so on. There are also more abundant underground materials-tombs murals. Since the Western Han Dynasty, China has had the tradition of drawing murals of tombs (even as early as the Qin or Qin dynasties, but the relevant materials have not been excavated, until the Tang Dynasty, the contents of the murals have gone deep into all aspects of social life. And the technique also matures day by day. Therefore, the study and creation of contemporary murals cannot simply be carried out independently of these rich materials. How to absorb the traditional Chinese murals, especially the language and techniques of a large number of tomb murals that have been neglected in recent years, is still an important subject. This paper will focus on the tomb murals of the Tang Dynasty as the research object, and focus on the existence of a large number of "birds and birds" in the tomb murals of the Tang Dynasty. In our general idea today, even in many research works, the "bird and bird image" of Tang Dynasty is generally classified as the field of flower and bird painting. Obviously, this way of studying the former generation subject with the later concept is not very appropriate. Therefore, this study selected the image of "bird" as the research object, and placed it in the category and environment of tomb murals of Tang Dynasty for re-observation. The title of this paper is "the study of Fowl and Birds in Tombs of Tang Dynasty", which is based on the professional consideration of art mural and the need of studying the history of painting, and makes a comprehensive and systematic analysis and research on the images of animals and animals appearing in the murals of the tombs of the Tang Dynasty. Not only pay attention to the change of artistic style, but also try to explore the reasons and significance behind the change of the artistic style of birds and birds in the tomb murals of the Tang Dynasty, so as not only to make up for an important deficiency in the study of Chinese art history. The aim is to find creative elements and painting language for contemporary mural teaching and creation.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K879.41

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