黑白之间的女性美—改琦与比亚兹莱插图作品中女性形象比较研究

发布时间：2018-03-08 02:34

本文选题：改琦与比亚兹莱　切入点：比较研究　出处：《河南师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：古今中外，，女性一直是画家们偏好的绘画题材，中国清朝仕女画家改琦与英国颓废主义艺术家比亚兹莱都是女性绘画题材的个中翘楚，他们同样为文学作品绘制插图。改琦选择了《红楼梦》比亚兹莱选择了《莎乐美》。两位画家被两个作者打动，创作了经典的黑白插图作品。这些插图作品中的女主角都是女性，改琦所做的《红楼梦图咏》中描画的是多个女性形象，虽然她们呈现在纸上的形态各异、性格不同，但她们都是弱柳扶风的深闺淑女，有着相似的忧郁气质。比亚兹莱所绘制的《莎乐美》插图中，女性主角只有莎乐美一人，且在作品中多次重复出现，但是丝毫都没有给人沉闷重复的感觉。莎乐美的每次出场都带给我们惊喜，比亚兹莱用娴熟的技法把莎乐美这一妖媚、诱惑的女性形象淋漓尽致的展现在观者的面前。虽然这两种经典的女性形象一个忧郁、一个妖冶，但是细细思索这两种女性形象，都带有不同程度的病态美。这无疑是末世背景下产生的不太健康的审美观，但这种略带病态的女性形象是那个时代所特有的。这种散发着独特魅力的女性美，成为女性绘画艺术史中清晰而独特的坐标。本文依托18世纪到19世纪中国和英国的时代背景，研究他们为何选择为书作画，成就经典的女性形象，以及他们绘画中女性形象产生的原因、异同，和二位画家创作黑白装饰画所运用绘画语言的特点。本文共分为四个大章节，第一章分别从社会时代背景和人生经历入手来探讨改琦与比亚兹莱的艺术历程；第二章讲述两人因何分别选择了《红楼梦》与《莎乐美》为描画对象的，改琦与作者相似的人生经历而选择了描绘《红楼梦图咏》，比亚兹莱因为与作者相似的艺术主张而选择了《莎乐美》。第三章是不同审美取向下的女性形象，行将就木的封建末世王朝对女性的压抑形成了特有的弱柳扶风的忧郁女性美。世纪末的女性主义运动对男权的反抗，使男性对女性有了既爱又惧的心理，才产生了妖媚诱惑的莎乐美。改琦用削肩长颈、娴雅轻盈、弱柳扶风来表现忧郁，比亚兹莱用充满象征性的绘画语言来暗示妖女的邪恶、魅惑。第四章从两人对线和黑白块面的绘画语言运用，来表现着这两种病态的悲剧女性美。
[Abstract]:At all times and at home and abroad, women have always been the subject of paintings preferred by painters. In the Qing Dynasty, female painters changed Qi and British decadent artists were among the leading artists in women's paintings. They also painted illustrations for literature. Gucci chose A Dream of the Red Mansion, Biazley chose Salome. The two painters were impressed by the two authors and created classic black and white illustrations, in which the heroines were women. "A Dream of Red Mansions" depicts a number of female images in Gaiqi's "A Dream of Red Mansions". Although they have different shapes and different personalities on the paper, they are all ladies with weak willows and strong winds. There is a similar melancholy temperament. In the illustrations of Salome by Biazley, the female protagonist is Salome alone and repeated in the work many times. But it didn't feel dull and repetitive at all. Salome's every appearance surprised us, and Biazley used his skillful technique to seduce Salome. The seductive female image is vividly displayed in front of the viewer. Although the two classic female images are one melancholy and one evil, but think carefully about these two female images, They all have different degrees of morbid beauty. This is no doubt an unhealthy aesthetic in the eschatological context, but this slightly morbid female image is unique to that era. This feminine beauty, which exudes its unique charm, To become a clear and unique coordinate in the history of female painting art. Based on the background of Chinese and British times from 18th century to 19th century, this paper studies why they chose to paint for books and achieved classic female images, as well as the causes, similarities and differences of the female images in their paintings. This paper is divided into four chapters. The first chapter discusses the artistic course of Gaiqi and Biazley from the background of the social times and the life experience. The second chapter tells why the two people chose "Dream of Red Mansions" and "Salome", respectively. Gaiqi chose to depict A Dream of Red Mansions because of his similar life experience, and Biazley chose Salome because of his similar artistic ideas. Chapter three is about the female images under different aesthetic orientations. The oppression of women by the dying feudal dynasties formed the melancholy feminine beauty of the weak willow wind. The resistance of feminism to male power at the end of the century made men have both love and fear for women. The seductive Salome, whose shoulders and long necks, elegance and lightness, weak willow wind, and Biarzleh, in symbolic drawing language, hinted at the evil of the genie, was born of the seductive seduction of Salome, with her shoulders and long necks, elegance and lightness, and weak willow winds to express his melancholy. Chapter 4th shows the two morbid tragic feminine beauty from the use of the painting language of line and black and white.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J218.5

【参考文献】