“伏羲女娲”汉画像石的变迁与样式风格研究
发布时间：2019-05-23 20:28
【摘要】： 汉画像石是中国美术史上较具代表性的艺术遗存,其题材丰富、制作简便、手法丰富多样。籍着石料上凿刻的图像、文字,描绘汉代人的物质和精神生活,彰显出汉代深沉雄大的时代气息,具有较高的艺术和史料价值,“伏羲女娲”题材在汉画像石中出现较为频繁。本文拟以梳理“伏羲女娲”为题材的画像石的分布地域、时间为基础,对“伏羲女娲”进行归类,解析“伏羲女娲”汉画像石在造型性与形式特征上的变迁情状,进而论析“伏羲女娲”汉画像石样式风格所具有的学理价值,即该变迁不仅是其本身样式风格的形成途径,亦是当下承续传统、创造新艺术样式风格不可忽视的重要途径、手段。本论文的创新点在于论述了“伏羲女娲”为题材的画像石的变迁、样式风格的形成,及其与承续传统、创造新艺术之样式风格的关系。 本论文主要分为四章: 第一章简述了“伏羲女娲”的起源、发展,并用图表分析法梳理了“伏羲女娲”画像石的分布概况。首先,借助纵向比较,以时间为主线,将东汉早期、中期、晚期、末期等四个时期“伏羲女娲”汉画像石的样式风格进行分析,并探求其异同;其次,借助横向比较,以地域变迁为主线,通过分析中原、北方、西南三地区“伏羲女娲”画像石因地域而异的状况,探求其所形成的样式风格的演变与发展。 第二章,运用造型学原理,以“伏羲女娲”画像石中的人物形象、构图特色、情景塑造和雕刻手法为切入点,通过概括性和整体性、变形性与夸张性、对称性与均衡性等形式美法则对“伏羲女娲”的形式进行分析。创作者为表达自己的思想、塑造“伏羲女娲”之形象,采用了打破时空限制,把发生在不同时空的事物描绘于同一画面上,以二维空间为基础,根据形象的变化,多种雕刻手法结合,突出形体,借用光线,使“伏羲女娲”汉画像石的整体画面具有深浅不同的明暗视觉效果、动静相宜的立体形式美感,为“伏羲女娲”汉画像石在变迁中所形成的样式风格奠定了基础。 第三章,探讨“伏羲女娲”在变迁中所形成的样式风格并作比较,以样式为切入点。首先,将“伏羲女娲”画像石与其它画像石进行构图、样式地比较分析,发现二者的异同;其后,在论述“伏羲女娲”画像石与其它画像石样式风格相似性的基础上,探究变迁与样式风格形成、承续的关系。 第四章,在以上三章对“伏羲女娲”汉画像石变迁与样式风格研究的基础上,进一步从造型学视野出发,探究在变迁过程中所形成的样式风格所具有的学理价值。具体而言,首先,通过探究变迁在“伏羲女娲”汉画像石样式风格形成的作用与意义。变迁不仅奠定“伏羲女娲”汉画像石样式风格的途径,而且也是其得以承续的途径;其次,通过变迁与形神、变迁与取舍关系的论述,探究变迁与样式风格的深层关系,揭示变迁与样式风格在造型学中具有表象展示与内质外显的积极作用,提出变迁与样式风格在视觉表象上均是外在的、具体的、可视的;而在事物内质上却是内在的、本质的、蕴含的,有时甚至是抽象的。形是神赖以生存的躯壳,形无神不活;神是形赋予生命的灵魂,神无形不存。“伏羲女娲”汉画像石及样式风格的变迁离不开形神兼备,是形神兼备的产物。由此可得,在变迁发展中所具有的相似性可以作为一种承续传统造型艺术和创造新的造型艺术之样式风格的不可忽视的重要途径与手段。在深入研究之同时,不可忽视其中形神与取舍的意义与作用。 画像石主题的变迁与样式风格的形成,与传统造型艺术样式风格的承续、新的造型艺术样式风格的创造有着不可忽视的关系。为此,进一步强化对造型艺术中变迁的探究,承续传统造型艺术样式风格和创造新的造型艺术之样式风格均具学理价值和实践价值,其对造型学尤其是基础造型学的形成与发展也具积极意义。
[Abstract]:Han-picture stone is a representative art in the history of Chinese fine art. Its subject matter is rich, its making is simple and convenient, and the method is rich and varied. The images and characters, which are carved on the stone, depict the material and spiritual life of the people in the Han Dynasty. This paper is to sort out the distribution area and time of the picture and stone, which is the theme of Fu's female, to classify it, to analyze the change of the style and form of the female's portrait stone, and to analyze the academic value of the style of the style. That is, the change is not only the form of its own style, but also an important way to continue the tradition and create the style of the new art. The innovation point of this thesis is to discuss the change of the picture and stone, the formation of the style of style, and the relationship between the style of the new art and the style of the new art. The main part of this paper In the first chapter, the origin and development of the "Voltaenia foetida" are described in the first chapter, and the "Voltaenia foetida" drawing is analyzed by the graph analysis method. Firstly, by means of the vertical comparison, the style style of the "Voltaenia foetida"-and-Han-style stone in the early, middle, late and end of the Eastern Han Dynasty is analyzed, and the similarities and differences are explored; secondly, by means of the horizontal comparison, the main line of regional change is adopted, The paper analyzes the situation of the picture and stone in the three parts of the Central Plains, the north and the southwest of the Central Plains due to the geographical condition, and explores the style of the style. The second chapter, using the principle of modelling, uses the figure, the composition, the scene-shaping and the carving technique in the picture stone of the women's picture of Fu's as the cut-in point, through the formal beauty rule of generality, integrity, deformation and quartile, symmetry and balance, and the Han's portrait stone style is not only the way to lay the style of the "Voltaenia foetida" and the style of the Stone Style, but also the way it can be continued; secondly, through the change and the form of God, the change and the trade-off This paper discusses the deep relationship between the change and the style style, and reveals the positive effect of the change and the style style in the modeling study. The change and style style are both external, concrete and visible in the visual representation. In nature, contained, sometimes even abstract. The shape is the body of God's existence. Do not live; God is the soul that gives life to life, and God is invisible. The change of the form and the combination of the form and the spirit is the product of the combination of the gods and the gods. The similarities between the development of the change and the development of the change can be used as a continuation of the traditional art and the creation of new forms. The non-negligible way and means of the style of the style of the technique. On the basis of the change of the theme of the portrait stone and the formation of the style of the style, and the continuation of the style of the traditional artistic style The creation of the new style of the artistic style has a non-negligible relationship. To this end, to further strengthen the study of the change of the stylized art, the style of the traditional artistic style and the style of the creation of the new type of art are of good value and practical value.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K879.4
本文编号：2484202
[Abstract]:Han-picture stone is a representative art in the history of Chinese fine art. Its subject matter is rich, its making is simple and convenient, and the method is rich and varied. The images and characters, which are carved on the stone, depict the material and spiritual life of the people in the Han Dynasty. This paper is to sort out the distribution area and time of the picture and stone, which is the theme of Fu's female, to classify it, to analyze the change of the style and form of the female's portrait stone, and to analyze the academic value of the style of the style. That is, the change is not only the form of its own style, but also an important way to continue the tradition and create the style of the new art. The innovation point of this thesis is to discuss the change of the picture and stone, the formation of the style of style, and the relationship between the style of the new art and the style of the new art. The main part of this paper In the first chapter, the origin and development of the "Voltaenia foetida" are described in the first chapter, and the "Voltaenia foetida" drawing is analyzed by the graph analysis method. Firstly, by means of the vertical comparison, the style style of the "Voltaenia foetida"-and-Han-style stone in the early, middle, late and end of the Eastern Han Dynasty is analyzed, and the similarities and differences are explored; secondly, by means of the horizontal comparison, the main line of regional change is adopted, The paper analyzes the situation of the picture and stone in the three parts of the Central Plains, the north and the southwest of the Central Plains due to the geographical condition, and explores the style of the style. The second chapter, using the principle of modelling, uses the figure, the composition, the scene-shaping and the carving technique in the picture stone of the women's picture of Fu's as the cut-in point, through the formal beauty rule of generality, integrity, deformation and quartile, symmetry and balance, and the Han's portrait stone style is not only the way to lay the style of the "Voltaenia foetida" and the style of the Stone Style, but also the way it can be continued; secondly, through the change and the form of God, the change and the trade-off This paper discusses the deep relationship between the change and the style style, and reveals the positive effect of the change and the style style in the modeling study. The change and style style are both external, concrete and visible in the visual representation. In nature, contained, sometimes even abstract. The shape is the body of God's existence. Do not live; God is the soul that gives life to life, and God is invisible. The change of the form and the combination of the form and the spirit is the product of the combination of the gods and the gods. The similarities between the development of the change and the development of the change can be used as a continuation of the traditional art and the creation of new forms. The non-negligible way and means of the style of the style of the technique. On the basis of the change of the theme of the portrait stone and the formation of the style of the style, and the continuation of the style of the traditional artistic style The creation of the new style of the artistic style has a non-negligible relationship. To this end, to further strengthen the study of the change of the stylized art, the style of the traditional artistic style and the style of the creation of the new type of art are of good value and practical value.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K879.4
【引证文献】
相关期刊论文 前1条
1 余粮才;芦兰花;;二十世纪以来伏羲研究概述[J];西北民族研究;2012年01期
，本文编号：2484202
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