15-20世纪藏汉绘画艺术比较

发布时间：2018-04-30 11:12

本文选题：绘画艺术 + 藏传绘画　；参考：《西藏大学》2014年硕士论文

【摘要】：绘画艺术是视觉造型艺术中重要的表现方法之一，对绘画艺术特征的分析和全面的把握，不仅要从其画面的内容和形式入手，还要对其更为深刻的文化、政治、宗教等上层建筑背景进行深入的了解，这对于学习和理解藏族传统绘画和汉地传统绘画同样大有裨益。就15-20世纪的这两种传统绘画艺术特征的比较，其年代跨度大，风格繁多，体系庞杂，本论文主要侧重于一下四个方面的问题进行逐一剖析：1对两者主要的造型特征——线的异同点分析；2对两者在画面中所营造的不尽相同的时空观念进行分析；3对两者艺术家不同的绘画思想观念进行对比分析；4对藏汉传统绘画艺术的美学理念进行整合——两者都从属于东方“线性”造型的审美范畴，从而具有了一定的绘画艺术的共性特征。本论文主要写作来源有三个主要原因：第一个是西藏独特的人文自然景观。西藏处于我国西南边陲，不仅具有奇特的自然景观也拥有着独特的人文气息，尤其是绘画，与宗教紧密结合，与人民的生活、思想、信仰息息相关。造型独特，内容丰富，色彩鲜明，与蓝天白云，雪山湖泊，寺院建筑以及虔诚信民形成一个不可分割的整体——雄浑庄重、自然朴实、真诚奔放。第二个重要的来源是对藏汉绘画之间比较的深思熟虑，国内外对此方面的探索与研究较少。本论文主要的内容是通过对15-20世纪藏汉绘画艺术特征的分析比较，从而寻找到藏传绘画的审美变迁及审美个性成熟的内在原因。第三个原因是对中国古代绘画的仰慕之情，本论文主要包括明清和近现代藏汉绘画史。藏传绘画在这一时期逐渐成熟，形成了本民族多样的艺术风格，审美气质向祖国内地倾斜。与此同时，内地传统绘画和佛教绘画追寻着自己的发展规律，其绘画方式、绘画目的与藏传绘画也有所不同，对二者之间的比较具有重要的理论价值意义。本论文主要由绪论和四个章节共五个部分组成。在绪论中分两个小节，第一小节就本论文所涉及到的主要概念进行阐释，比如汉地传统绘画所产生的文化背景及历史发展过程；汉地传统绘画的概念界定；藏传绘画的发展历程；对绘画艺术特征的理解；唯美的定义是什么以及对15-20世纪这个时间段的理解等等。第二小节对国内外的研究现状进行论述，并说明自己的主要研究方法和写作思路。第一章分两个小节，第一小节是对藏传绘画“线性造型”这一主要特征进行描述，主要把握住了不同时期的用线风格来阐释藏传绘画的审美倾向——逐渐向汉地绘画风格倾斜的趋势。第二小节着重讲汉地传统绘画的发展情况，其中又分三个小部分，一是从文人画以及佛教绘画方面来说明其绘画的目的与意义，是为了一种文人意气的抒发和境界的探索；二是从徐渭的大写意“线的变异”入手，反映出当时的社会风气——个性自由精神的喧嚣；三是描述明清时期人物肖像画的特点，“如灯取影”等传统绘画技法的形成对藏汉绘画的影响。第二章是本论文的重中之重，借用德国哲学家海德格尔的一句感悟：“人，诗意的栖息”，并将此句作为论文的主要理论来源之一。本论文把存在主义之父克尔凯郭尔的“精神无助”的哲学意识和海德格尔关注生命的存在方式——感悟并领会地生存作为论点。在这一章节里主要论述造型与时空的关系问题以及对人生意义的终极所在的思考。这一章节也主要分为三个部分，分别从人物造像、时空处理和色彩观念等方面进行比较。第三章主要是从艺术创作主体艺术家的角度来比较藏汉绘画的不同，把重点放在了20世纪近现代艺术家面对西方的写实主义从而对绘画的新认知和对传统绘画的再认识上。第四章是从东方美学范畴中去体会“线性造型”的魅力，还有，从人文主义个性自由解放的角度去领悟绘画艺术的永恒价值意义。藏族传统绘画的审美意识受到内地传统思想的影响，这种对“唯美”境界的追求是古老中国传统文化观念的体现。这是藏汉绘画艺术的共同点，也是区别于周边其他国家与民族的个性所在，同时，两者都注重线性造型，注重画面的意象表达，人物与时空关系的描绘趋向于一种抽象的意念，这与西方科学的对客观世界真实的摹仿迥然不同。藏汉传统绘画艺术的不同点是：1在用线上，藏传绘画里的线条种类比汉地传统绘画里要少，而且二者在线条的表达力度上也不尽相同，藏传绘画用线在尽其物象上几近完美，而在汉地传统绘画里“线”已成为画家宣扬个性的标志，甚至打破了线条对物象的束缚；2在意念的表达上，藏传绘画时刻在宣扬着“无我”境界，绘画为宗教服务；而汉传绘画则实现着艺术家自由精神的抒发；3在时空问题的处理与理解上，藏传佛教文化中所观想的终极所在——净土或者是极乐世界，以及在时间上所体现的生死轮回，都是一个“有限”的终极，一个“有”的所在。而在汉传文化中，佛教已于儒、道思想相融合，在绘画艺术中更多体现“儒、道”的精神，尤其是道家的无为所体悟的那个宇宙世界以及对生命的认知则体现了一个“无”、“无往不复”和“无始无终”的时空意识，空间和时间一起“舞蹈”。4在艺术观念上，藏传绘画其主体为“佛”，而汉族传统绘画其主体是“人”。本论文试图从“审美”的角度，以“唯美”的观念作为理论基础，，在藏汉传统绘画艺术的对比中去探析人类绘画艺术的功能与意义，不仅仅将宗教绘画的作用停留在“观想”的宗教实用功能上去理解，更是超越唯心思想——宗教的桎梏，走向一条探索“人的本质力量”的道路，这就是本论文的宗旨所在。
[Abstract]:The art of painting is one of the most important methods of expression in visual modeling art. The analysis and overall grasp of the artistic features of the painting should not only start with the content and form of the picture, but also deeply understand the background of its more profound cultural, political, religious and other superstructure backgrounds, which is to study and understand the traditional Tibetan painting and the Han Dynasty. Traditional painting is also of great benefit. Comparing the artistic features of these two traditional paintings in the 15-20 century, it has a large span, a variety of styles, and a complex system. This paper mainly focuses on four aspects of the analysis: 1? The analysis of the main features of the two, the similarities and differences of the line; 2? The two in the picture of the two. The different concept of space-time construction is analyzed; 3? To compare and analyze the different painting ideas of the two artists; 4? The integration of the aesthetic concepts of the traditional Tibetan and Chinese painting art - both belong to the aesthetic category of "linear" modeling in the East, and have a certain common characteristics of painting art.
There are three main sources of writing in this paper: the first is the unique cultural and natural landscape of Tibet. Tibet is in the southwestern border of China. It not only has a peculiar natural landscape but also has a unique cultural atmosphere, especially painting, closely linked with religion, closely related to the people's life, thought and belief. Rich, colorful, with blue sky and white clouds, snow mountain lakes, monastery buildings and religious people to form an inseparable whole - majestic and solemn, natural simplicity, sincere and unrestrained.
The second important sources are the careful consideration of the comparison between the Tibetan and Chinese paintings, and the exploration and Research on this aspect at home and abroad. The main content of this paper is to find the inner reasons for the aesthetic changes of Tibetan painting and the inherent reason of the maturity of the beauty of the United States through the analysis and comparison of the artistic features of the Tibetan and Chinese painting in the 15-20 century. Third reasons. It is the admiration of ancient Chinese painting. This paper mainly includes the history of Tibetan and Han paintings in Ming and Qing Dynasties. Tibetan painting gradually matured in this period, formed the various artistic styles of the nation, and the aesthetic temperament inclines to the mainland of the motherland. Meanwhile, the traditional painting and Buddhist painting in the mainland pursued its own development law, and its painting side. The purpose of painting is different from Tibetan painting, which is of great theoretical value to the comparison between the two.
This paper is composed of five parts in the introduction and four chapters. In the introduction, it divides two sections. The first section explains the main concepts involved in this paper, such as the cultural background and historical development process produced by traditional Chinese painting; the definition of the concept of traditional Chinese painting; the development of Tibetan painting; The understanding of the artistic features of the painting; what is the definition of aestheticism and the understanding of the time of the 15-20 century. The second sections discuss the current research status at home and abroad, and explain their main research methods and ideas of writing.
The first chapter is divided into two sections. The first section is the description of the main features of the "linear modeling" of Tibetan painting. It mainly grasps the aesthetic tendencies of Tibetan painting in different periods of use to explain the trend of the inclination to the Chinese painting style gradually. The second section retalks the development of traditional Chinese painting, in which the development of the traditional Chinese painting is retold. Three small parts, one is from the literati painting and Buddhist painting to illustrate the purpose and significance of painting, is for a kind of literati mood to express and the realm of exploration; two is from Xu Wei's great freehand "line variation", reflecting the social atmosphere of the time, the uproar of the spirit of individual freedom; three is the description of the Ming and Qing Dynasties. The characteristics of portrait painting, such as "taking the shadow of the lamp" and other traditional painting techniques, have an impact on Tibetan and Han paintings.
The second chapter is the most important part of this paper. It borrows a sentence from the German philosopher Heidegger: "man, poetic inhabitation", and regards this sentence as one of the main theoretical sources of the thesis. This thesis takes the philosophical consciousness of "spiritual helplessness" of the father of existentialism and the way Heidegger pays attention to the existence of life. In this chapter, we mainly discuss the relationship between modeling and space and time, as well as the ultimate in the meaning of life. This chapter is divided into three parts, which are compared from the figure creation, the time and space processing and the color concept respectively.
The third chapter mainly compares the difference between the Tibetan and Chinese painting from the angle of the artist of the artistic creation, and puts the emphasis on the new cognition of the modern artists in the twentieth Century facing the western realism and the Reunderstanding of the traditional painting. The fourth chapter is to understand the charm of "linear modeling" from the Eastern aesthetic category. From the perspective of humanism, freedom and emancipation, we can understand the eternal value of painting.
The aesthetic consciousness of the traditional Tibetan painting is influenced by the traditional ideas of the mainland. This pursuit of "aestheticism" is the embodiment of the ancient Chinese traditional cultural concept. This is the common point of the Tibetan and Chinese painting art, and is also different from the other countries and people in the surrounding countries. At the same time, both of them pay attention to linear modeling and pay attention to the image image. Expression, the description of the relationship between the characters and the time and space tends to an abstract idea, which is quite different from the imitation of the truth of the objective world in the western science. The different points of the Tibetan and Chinese traditional painting art are: 1? In the use of the lines, the lines in the Tibetan painting are less than those in the traditional Chinese painting, and the two are not exhausted in the expression of the lines. Similarly, the line of Tibetan painting is almost perfect in its image, and the "line" in the traditional Chinese painting has become a symbol of the painter's personality, even breaking the shackles of the lines to the object. 2? In the expression of the idea, the Tibetan painting always proclaims the realm of "no", the painting serves the religion, and the Han painting realizes the art. The expression of the free spirit of the operator; 3? In the processing and understanding of the space-time problem, the ultimate place of the Tibetan Buddhist culture, the net earth or the paradise, and the time of life and death, are both a "limited" ultimate and a "there". In the Han culture, Buddhism has been in Confucianism and Taoism. In the art of painting, the spirit of "Confucianism and Taoism" is more reflected in the art of painting, especially the universe and the cognition of life, and the consciousness of life is embodied in a "no", "endless" and "endless" time and space consciousness, space and time "dance".4? In the artistic concept, Tibetan painting its master The body is the "Buddha", and the main body of the traditional Han painting is "man". This paper tries to analyze the function and significance of human painting art in the contrast of Tibetan and Chinese traditional painting art from the angle of "aesthetic" and the concept of "Aesthetical" as the theoretical basis. It is the purpose of this thesis that we can understand and transcend idealism, the fetters of religion and the path of exploring the essential power of man.

【学位授予单位】：西藏大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

【参考文献】