清康熙木刻版画《万寿盛典图》图像艺术形式研究

发布时间：2018-04-15 00:02

本文选题：清代 + 木刻版画　；参考：《西南大学》2014年硕士论文

【摘要】：清代是木刻版画发展的续盛时期,此时的宫廷版画是在明代刻书基础上逐渐发展起来的,与此同时,纪实性版画在宫廷版画中是最具有代表性的,通过对重大历史事件的描绘来展现中国古代特殊的社会形态。此时的宫廷版画不仅体现其自身的价值,更成为统治者进行政治统治而起到非常重要的作用。目前,对于清康熙木刻版画《万寿盛典图》的研究大多是在史料的归纳与搜集,从图像艺术形式方面入手的甚少,因此本文从木刻版画《万寿盛典图》产生的历史背景及成因以及图像艺术形式的整体出发与分析,揭示其所蕴含的审美特征与艺术价值。清康熙年间,在宫廷版画中除了描绘帝王出行的大型纪实性版画《万寿盛典图》之外,还有一些是描绘与统治阶级相关的政治、军事、文化与娱乐活动等,例如《南巡盛典图》、《新制仪象图》、《皇舆全览图》、《御制耕织图》、《御制避暑山庄三十六景》等等,这些宫廷版画都充分体现了统治阶级的审美意识。《万寿盛典图》中对于皇家建筑、皇家仪仗、官员兵弁、市井百姓形象的绘刻,使我们清晰的看到当时社会的繁荣与国家的吕盛。清代北京皇城这片繁荣的景象更在《万寿盛典图》中表现的淋漓尽致,这幅艺术作品不仅对于研究清代北京的历史与文化具有很大的文献价值,而且画面中不同类型的图像更能反映当时统治阶级的审美意识以及宫廷绘画的发展状况。康熙年间,宫廷绘刻者为了迎合统治阶级对于西方绘画的诉求,所以在绘制过程中借鉴了西方绘画的透视以及铜版画的表现技法。虽然宫廷木刻版画在技法上不断变化,但仍多留有中国传统绘画的构图法则与讲求意境的描绘手法,对于西方的绘画也只是借鉴,并未全然运用,所以清代的宫廷绘画是皇帝个人的艺术,是在皇权至上下的一种保守与创新的对立统一。本文作者将通过对《万寿盛典图》中各类图像的艺术形式研究,使我们能够充分认识到它所特有的审美特征以及艺术价值,希望能对中国当代版画的发展提供一定的启示。
[Abstract]:The Qing Dynasty was a period of continued development of woodcut printmaking. At this time, the palace printmaking was gradually developed on the basis of the Ming Dynasty engraving books. At the same time, the documentary printmaking was the most representative of the palace printmaking.Through the description of major historical events to show the special social form of ancient China.The court printmaking not only embodies its own value, but also plays a very important role in the rulers' political rule.At present, most of the researches on the woodcut prints of Kangxi in Qing Dynasty, "the Great Festival of Wanshou", are mainly based on the induction and collection of historical materials, and very few of them begin with the form of image art.Therefore, this paper reveals the aesthetic characteristics and artistic value of woodcut printmaking from the historical background and cause of formation, as well as the overall analysis of the form of image art.During the reign of Kangxi in the Qing Dynasty, in the palace printmaking, in addition to the large-scale documentary printmaking of emperors' travel, "the Great Festival of the Thousand Birthday", there were also some depictions of political, military, cultural and recreational activities related to the ruling class.For example, such as the "Southern Patrol Map", the "New system ceremony Picture", the "Huangyu overall Overview", the "Royal farming Weaving Picture", the "Royal Summer Resort 36" and so on. These palace printmaking fully reflect the aesthetic consciousness of the ruling class.Royal ceremonial battle, official soldiers, the image of ordinary people, so that we can clearly see the prosperity of the society and the country of Lu Sheng.The prosperity of the imperial city of Beijing in the Qing Dynasty is even more incisive and incisive in the Great Festival of Wanshou. This work of art is not only of great value to the study of the history and culture of Beijing in the Qing Dynasty, but also of great literature value.Moreover, the different types of images can reflect the aesthetic consciousness of the ruling class and the development of court painting.During the Kangxi period, court engravers, in order to cater to the demands of the ruling class for Western painting, used the perspective of Western painting and the performance techniques of copperplate painting in the process of drawing.Although the printmaking of palace woodcut is constantly changing in technique, there are still many traditional Chinese painting composition rules and artistic conception description techniques, which is only a reference for Western painting, and is not fully applied.Therefore, the court painting of Qing Dynasty is the emperor's personal art, a conservative and innovative unity of opposites from the imperial power to the upper and lower.The author of this paper will study the artistic forms of all kinds of images in the Great Festival of Wanshou, so that we can fully realize its unique aesthetic characteristics and artistic value, hoping to provide some enlightenment to the development of Chinese contemporary printmaking.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J217

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