晚清杨柳青画师高桐轩研究

发布时间：2018-04-09 04:22

  本文选题：杨柳青画师　切入点：高桐轩　出处：《天津大学》2015年博士论文

【摘要】：高桐轩(公元1835年-1906年),是中国十八世纪中期至十九世纪初活跃于京畿一带的民间职业画家,也是津门杨柳青镇从事木版年画创作的著名画师。高桐轩绘画创作领域广泛,从民间肖像画绘制到木版年画的创作都取得很大的成就。他一生游历辗转于晚清宫廷、乡村与市井之间,这种艺术经历不仅使他有意吸收了晚清宫廷画风与西洋线法画的艺术表现技巧,而且还将古代文人的绘画传统与晚明以来民间版画的审美趣味融入到他的年画创作中,形成了迥异于杨柳青传统木版年画的艺术风格。特别是其晚年创作的木版年画作品既深受传统的宫廷绘画影响,又凸显了传统文人画的审美倾向。其作品借鉴宫廷绘画的物象元素,运用西洋“透视法”技法和灰色套版印刷技术表现画面的空间明暗,其画面内容不仅场面宏大且刻绘亦精致灰雅,在艺术的格调上实现了俗与雅的审美融合。特别是岁时节景题材的年画作品,不仅涉及民间社会的精神侧面而且贴近民间生活的创作视角使其作品具有独特的艺术面貌。这种揉入宫廷贵族与民间市井文化风情所形成的不同于宫廷绘画、文人绘画以及传统的杨柳青木版年画的全新艺术风格对清末杨柳青民间木版年画的创作和发展产生了重要的历史影响,而这在晚清杨柳青木版年画日益衰微的进程中也凸显出重要的文化标型意义。高桐轩将自己一生积累的绘画技法经验以及他个人的绘画思想编撰成一部带有方法论性质的画论专书——《墨余琐录》。该书是中国历史上一部出自民间职业画家的绘画理论著作,不仅利导民间绘画的创作实践,而且是民间画工集体绘画实践的经验总结,对于研究中国民间绘画尤其是肖像画和民间木版年画的制作和传承具有重要意义。作为民间画工阶层的代表人物,高桐轩在画论中还表达了他对精英阶层文人士夫绘画思想的批判立场和审美态度。对晚清民间画师高桐轩创作的年画图像和相关史料的文本进行重新解读可正视绘画史中可能被忽视和简单化的学术内容,从客观的角度重现时代和地域以及因画家本人因素而形成的特殊的绘画审美样式、创作脉络以及人文观照方式,是挖掘民间画工传统艺术精神的砌基。
[Abstract]:Gao Tongxuan (1835-1906 A. D.) is a folk professional painter active in Beijing from the middle of the 18th century to the beginning of the nineteenth century.Gao Tongxuan painting field is extensive, from folk portrait painting to woodcut New year painting creation have made great achievements.He traveled all his life to the palace of the late Qing Dynasty, between the countryside and the city. This kind of artistic experience not only made him deliberately absorb the artistic expression skills of the painting style of the court in the late Qing Dynasty and the Western line painting.Moreover, the painting tradition of ancient literati and the aesthetic taste of folk printmaking since the late Ming Dynasty were incorporated into his New year painting creation, which formed a different artistic style from Yangliuqing's traditional woodcut New year painting.Especially in his later years, his woodblock paintings were deeply influenced by the traditional court paintings, and also highlighted the aesthetic tendency of the traditional literati paintings.His works draw lessons from the image elements of court paintings, and use Western "perspective" techniques and grey printing techniques to express the space of the pictures, the contents of which are not only grand but also delicate and elegant.The aesthetic integration of vulgarity and elegance is realized in the style of art.Especially the New year paintings with the theme of age and season not only involve the spiritual side of the civil society but also make his works have a unique artistic outlook from the perspective of close to the folk life.Different from court painting, this kind of cultural amorous feelings formed by the aristocrats and folk customs into the palace,The new artistic style of the literati painting and the traditional Yangliuqing wooden New year painting had an important historical influence on the creation and development of Yangliuqing Folk Wood New year paintings in the late Qing Dynasty.And this in the late Qing Dynasty Yangliuqing wood edition of the decline of the process also highlights an important cultural significance.Gao Tongxuan compiled his experience in painting techniques and his personal painting thoughts into a special book on painting theory with the nature of methodology-"Moyu Zuo Lu".The book is a drawing theory work in Chinese history from folk professional painters. It not only guides the creative practice of folk painting, but also is a summary of the experience of folk painters' collective painting practice.It is of great significance to study the making and inheritance of Chinese folk paintings, especially portraits and folk woodblock paintings.As a representative figure of the folk painting class, Gao Tongxuan also expressed his critical stand and aesthetic attitude towards the literary personage's painting thought of the elite class in his painting theory.To reinterpret the texts of New year pictures and related historical materials created by Gao Tongxuan, a folk painter in the late Qing Dynasty, can face up to the academic content which may be neglected and simplified in the history of painting.It is the foundation of excavating the traditional artistic spirit of folk painters to reproduce from the objective angle the special aesthetic style of painting, the vein of creation and the way of humanism, which are formed by the times and regions as well as by the painters themselves.
【学位授予单位】：天津大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：J205
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本文编号：1724836