品读雍正《十二美人图》感悟清代宫廷绘画的装饰美

发布时间：2018-05-01 07:38

本文选题：宫廷绘画 + 重彩人物画　；参考：《沈阳大学》2017年硕士论文

【摘要】：在中国绘画史上,宫廷绘画是绘画史中重要的组成部分,到两宋时期达到高峰,但是衰败在元明两朝,到了清代又开始呈现复苏现象。复苏的主要原因是帝王对宫廷绘画的重视程度大大加快,再者又有西方传教士画家加入宫廷画院,一大批市野上绘画高手被皇家画院广泛大量录用,从此繁华了清代宫廷绘画艺术。在清代宫廷绘画中,雍正《十二美人图》其就是由清代初期宫廷绘画家所创作的工笔重彩人物画,总共有十二幅,包括:《倚门观竹》《观书沉吟》《立持如意》《持表对菊》《消夏赏蝶》《博古幽思》《捻珠观猫》《烛下缝衣》《烘炉观雪》《倚榻观雀》《桐荫品茶》《裘装对镜》。每幅的尺寸都一样,都长184厘米,宽98厘米,都绘画在质量精美的绢帛上,人物都是真人大小,并且都是一幅画一个人的形式,各自描绘了身穿汉服的宫廷女子观书、品茶、沉吟、倚榻、观蝶等悠闲的生活情景,蔚为可观。《十二美人图》带给我们的不仅是图像上美的享受,其中包含种种细节,都是书画研究者们所津津乐道的。本论文通过研究雍正《十二美人图》,此图曾装饰在雍亲王时期圆明园深柳读书堂中的屏风上,迄今为止,虽然经历三百多年,画中美人依旧娴雅温婉,她们有的持表对菊、有的裘装对镜——在工笔重彩的写实描绘中,我们好像看到那时的四季变化,草木兴衰,室内陈设精致,服饰优雅。系统地讲述其绘画语言和风格在造型中头饰、服装的花样纹络、耳际发梢的华翠、家具文房用品和园林环境中的装饰美。本课题的提出,通过品读雍正《十二美人图》作品绘画语言和风格的装饰美,以及作品中的人物头饰、服饰中的图案、家具、文房用品、园林环境、家居背景等的装饰美,进行分析清中期的精致典雅之气在人物画中的体现,以及同时期西方写实主义绘画风格对宫廷绘画的影响,来感悟清代宫廷绘画的装饰美和中国画的装饰性艺术,对于画面的构图、色彩、线条以及是否存在西方的构成关系进行系统研究,进一步更深层次的感悟清代宫廷绘画无处不在的装饰美。
[Abstract]:In the history of Chinese painting, court painting is an important part of the history of painting, reached a peak in the Song Dynasty, but declined in the Yuan and Ming dynasties, and then began to recover in the Qing Dynasty. The main reason for the revival was that the emperors paid much more attention to the court painting. Moreover, some Western missionaries and painters joined the court painting institute. A large number of market field painters were widely employed by the Royal Academy of painting. From then on, the Qing Dynasty court painting art flourished. In the court painting of the Qing Dynasty, Yongzheng's painting of the Twelve Beauties was the meticulous painting of the fine brushwork painted by the court painters in the early Qing Dynasty, with a total of twelve paintings. Including: < watching bamboo by door > < reading and pondering > < standing contentedly; < holding chrysanthemum; < spending summer and appreciating butterfly; < Boguyou thought; < watching cat with twisting beads; < sewing clothes under candle; < watching snow under candle; < watching on bed; < tasting tea with Tong shade; < fitting mirror of fur]. Each of them is the same in size, 184 cm long and 98 cm wide. They are painted on silk and silk of exquisite quality. The characters are all life-size, and they are all in the form of a painting of one person, each depicting a court woman wearing a Han suit for reading books and tasting tea. The idleness of life, such as sitting on a couch and watching butterflies, is remarkable. The picture of the twelve beauties brings us not only the enjoyment of beauty on the image, but also the details which the researchers of calligraphy and painting are fond of talking about. Through the study of Yongzheng's Chronicles of the Twelve Beauty, this picture was decorated on the screen in the Old Summer Palace Shenliu Reading Hall in the reign of Prince Yong. Up to now, although after more than 300 years of experience, the beauty in the painting is still elegant and gentle, and some of them hold the symbol of chrysanthemum. In the realistic depiction of meticulous brushwork, we seem to see the four seasons change, the rise and fall of vegetation, the exquisite furnishings of the interior, and the elegance of the dress. This paper systematically describes its painting language and style in the modeling of the headdress, the pattern of clothing, the ears of the flower hair, furniture, stationery and garden environment in the decorative beauty. This subject is put forward by reading the decorative beauty of the painting language and style in Yongzheng's works, as well as the decorative beauty of the characters' headdress, the pattern in the dress, the furniture, the stationery, the garden environment, the home background, etc. This paper analyzes the embodiment of exquisite elegance in figure painting in the middle of Qing Dynasty, and the influence of Western realism painting style on court painting in the same period, in order to understand the decorative beauty of court painting in Qing Dynasty and the decorative art of Chinese painting. For the picture composition, color, lines and whether there is a Western composition of the relationship, further deeper understanding of the Qing Dynasty court painting everywhere decorative beauty.
【学位授予单位】：沈阳大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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