文艺复兴时期的侧面肖像画研究

发布时间：2018-03-08 04:06

本文选题：文艺复兴　切入点：侧面肖像　出处：《中国艺术研究院》2016年硕士论文　论文类型：学位论文

【摘要】：相对于平衡、对称的正面形象描绘,物象的侧面总是能够激发观者对于古老之物的永恒感受和丰富想象：法国拉斯科地区剪影化了的粗犷动物岩画、古埃及人所热衷的正面律、雅典时代精致的瓶绘、亚述帝国的浮雕、古代中国的帛画与画像砖等,皆以侧面角度的人形或者动物图形记录先民对世界的感觉。侧面像,因其识别性高、形式单纯直接的优势,而成为人类早期不同文明不约而同采取的初始图式。侧面像出现的意义,不仅在于其在记录人物具体形象的基础上,将个体元素从共性符号中抽离；更重要的是它体现人类自我意识的早期觉醒。公元14世纪晚期到15世纪,纯粹侧面的肖像画作为一种重要的肖像画形式开始流行于意大利。有很多种因素都会影响一种绘画风格的产生和隐没。文艺复兴时期是现代人文主义的开端时期,也是写实风格绘画与各种传统造型语言互相影响较为密切的时期,艺术家从各种艺术门类中汲取创作观念。在14世纪初到15世纪中的这段时间里,意大利的艺术摆脱了衰落停滞的状态,开始不停地吸收和创造新的形式。相比文艺复兴盛期的绘画,早期文艺复兴绘画更能代表意大利发展出来的本土美学价值,而侧面肖像画就是这种价值在绘画上的直观显现。本文将侧面肖像画作为主要研究对象,以早期意大利文艺复兴侧面肖像画作品为例,以形式语言分析为主要办法,重点阐述风格和形式语言之间的关系。在随后的美术史进程中,不论是达维特的《贺拉斯兄弟的宣誓》,还是塞尚的《玩牌者》,侧面人像绘画这种样式在后世艺术家的笔下不断出现。虽然这种样式语言所包含的语义在不断地发展,但在变化的画面内容后面,一些潜在的组织与结构形式一直反复的出现。侧面像绘画样式以其独特的形式,要求作画者对画面中所呈现的偶发与形式感、具象与抽象、写实与概念保持某种平衡。在当代西方美学思潮的影响下,具体研究侧面像样式的组织方式、语言特点和精神表达的联系变得更有实践意义。
[Abstract]:In contrast to balanced, symmetrical, positive images, the side of the image always inspires the viewer's timeless feelings and rich imagination of ancient objects: the silhouetted rock paintings of wild animals in the French Rasco region, the positive laws that the ancient Egyptians were keen on. The delicate bottle paintings of the Athens era, the relief of the Assyrian Empire, the ancient Chinese silk paintings and portraits, and so on, all recorded the feelings of the ancestors towards the world in the form of human or animal figures at the side angle. The side images were highly recognizable. The simple and direct advantage of form has become the initial schema adopted by different civilizations in the early period of mankind. The significance of the appearance of side image lies not only in the extraction of individual elements from the common symbols on the basis of recording the specific images of the characters; More importantly, it reflects the early awakening of human self-consciousness. As an important form of portrait painting, pure side portraits became popular in Italy. There are many factors that affect the emergence and invisibility of a painting style. The Renaissance was the beginning of modern humanism. It was also a period when realistic painting and various traditional modeling languages were closely related. Artists drew creative ideas from various artistic categories. During the period from the beginning of 14th century to the middle of 15th century, The art of Italy broke away from the state of decline and stagnation and began to absorb and create new forms. Compared with the paintings of the Renaissance, the early Renaissance paintings represented the local aesthetic values developed in Italy. The side portrait is the visual manifestation of this kind of value in painting. This paper takes the profile portrait as the main research object, takes the early Italian Renaissance side portrait as an example, and takes the formal language analysis as the main method. Focusing on the relationship between style and formal language. Whether it's Dawit's "the oath of the Horace brothers" or Cezanne's "the player of cards," this style of portraits is constantly emerging in the works of later artists. However, behind the changing picture content, some potential organizational and structural forms have been appearing repeatedly. In its unique form, the lateral image painting style requires the painter to have a sense of chance and form, concrete and abstract, as presented in the picture. Under the influence of contemporary western aesthetic thoughts, it is of practical significance to study the relationship among the organization mode, language characteristics and spiritual expression of the lateral image style.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J205

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