马王堆一号墓T型帛画中“鸟”“人”“鱼”的形相学研究

发布时间：2018-05-21 07:01

本文选题：鸟 + 人　；参考：《湖南师范大学》2010年硕士论文

【摘要】： T型帛画由于马王堆一号墓在中国绘画史上的特殊地位,国内外许多专家学者发表了不少论文和专著,研究成果十分丰富,然而时至今日,学术界就其性质、功能、图像、思想性等诸多方面仍未能达成共识,可以说是众说纷纭,莫衷一是。本文旨在从形相学的角度,结合图像、文献资料选取几个视觉符号作为切入点研究“T”型帛画。不仅仅从图像本身去考证,更多的是关注于图像之外的其他关系。文章首先将形相学与帛画作了大致的介绍,并把国内对T型帛画相关的研究现状分类作了描述,概括了各领域各角度对帛画所作出的研究工作,从而拟定了文章的大致框架；然后,将作为切入点的“鸟”“人”“鱼”视觉符号从远古时期及至汉代的演变作了大致的梳理,通过具有代表性的作品从自然环境,政治,经济,文化,宗教等角度进行了论述；作为论文的主体部分,文章重点考察了“鸟”“人”“鱼”图像本身的意义以及相互之间关系,将帛画中相关的符号作了划分和归纳,逐一进行阐释,并穿插对符号之间关系的探讨。同时还针对这些符号与棺椁乃至整个墓葬的关系进行了探讨分析,从而上升到符号之上的相关文化思想的研究。作为载体的T型帛画,融汇礼治思想,世俗化的神仙思想以及楚文化于一体,超脱于图像层面以外的精神层次的东西或者更大而化之至社会生活方面的种种都逐渐鲜明,从而映射出汉文化多元性的特色。其符号本身及帛画整体风格都对后世绘画艺术及思想等方面产生深远影响,同时也将对帛画的价值研究提供新的思路。
[Abstract]:Due to the special position of Tomb No. 1 of Ma Wang Dui in the history of Chinese painting, many experts and scholars at home and abroad have published a lot of papers and monographs, and the research results are very rich. However, up to now, the academic circles have focused on its nature, function, and images. Ideological content and many other aspects still can not reach a consensus, can be said to be divergent, disagreement. The purpose of this paper is to select several visual symbols as the starting point to study "T" type silk paintings from the angle of metaphysics and image. Not only from the image itself to verify, more focus on the image other than the relationship. At first, the paper gives a general introduction to Morphology and silk painting, and describes the research status quo of T type silk painting in China, summarizes the research work on silk painting from various angles in various fields, and draws up the general framework of the article. Then, the visual symbol of "bird" and "man" and "fish", which is regarded as the breakthrough point, is roughly combed from ancient times to Han Dynasty, through representative works from natural environment, politics, economy and culture. As the main part of the thesis, the paper focuses on the significance of the image of "bird" and "man" and "fish" and the relationship between them, classifies and induces the relevant symbols in silk painting, and explains them one by one. And interspersed with the relationship between symbols. At the same time, the relationship between these symbols and the coffin and even the whole tomb is discussed and analyzed, so as to study the related cultural thoughts that rise above the symbols. T-type silk paintings as a carrier, fusion of the thought of rule of etiquette, secularization of immortals and Chu culture, transcending the spiritual level beyond the image level, or beyond the level of the image, or, even larger, to the aspects of social life, are becoming more and more distinct. Thus reflecting the characteristics of the diversity of Han culture. Both the symbol itself and the overall style of silk painting have a profound influence on the art and thought of painting in later generations, and will also provide a new way of thinking for the study of the value of silk painting.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K879.4

【引证文献】