五代至宋绘画作品中的屏风研究

发布时间：2018-05-21 05:27

本文选题：屏风 + 功能　；参考：《湖南科技大学》2017年硕士论文

【摘要】：屏风自古以来便是我国家装用具中不可或缺的一部分,不仅具有良好的空间分割功能,还具有精致的美感,在家装设计方面得到了广泛地使用。在古代屏风便有“正”、“背”之分,安置在房屋里的屏风在划分空间的同时,还最大程度的保留了房间的整体美感。当个体处于一个背靠屏风的位置时,相比较空间中的其他个体来说,它的存在是比较独立的。另外,将屏风作为绘画素材融入到画作之中,充分增强了画作的立体感,为创作者的思想情感提供了寄托。本文以五代至宋这一时期的绘画作品中的屏风为例,就屏风安置位置以及蕴含在屏风之中的情感文化展开分析,以此加强对屏风的全面了解。本文的第一章节主要写通过作者大量地查阅资料以及在长沙市谭国斌当代艺术馆对《宋画全集》的认真阅读,归纳、总结出这一时期涉及到屏风的绘画作品的数量;并且根据屏风形制的不同对绘画作品中的屏风进行了分类,对具有代表性的优秀作品进行了重点分析。第二章节重点分析绘画作品中屏风的功能及特征,首先阐述屏风本身的功能——分割空间、严格礼制;界而未界、隔而不断;含蕴风水、曲则有情;审美载体、居室美化;虚实错位、内外延展。接下来,阐述屏风在画面中的特征——引导审美视角、叠加审美层次;营造画面意境、形成特定氛围;画中有画、别出机杼;融心中雅趣、点胸中丘壑;对这一系列内容进行重点讲解、分析。第三章节通过对作品中屏风的分析,归纳出画中屏风所表现的主要内容,以及这些表现内容在画面中的作用。最后,第四章节写我们现代绘画中关于屏风的运用及应注意的问题。整篇论文通过对屏风、以及画面中的屏风进行分析,同时从人文角度和精神层面对屏风艺术进行探讨和剖析。在进行课题的研究时,笔者对前人提出的先进理念加以了借鉴,致力于找寻到更加高效、科学的角度进行屏风艺术的了解。同时还利用了笔者在美学、视觉方面的知识对屏风进行历史层面的解读。
[Abstract]:Since ancient times, screen is an indispensable part of our home furnishings. It not only has a good space segmentation function, but also has a delicate aesthetic sense, and has been widely used in home decoration design. In ancient times, there were "positive" and "back" in the screen, the screen placed in the house in the division of space, but also to the greatest extent retained the overall aesthetic sense of the room. When an individual is in a position behind a screen, its existence is more independent than that of other individuals in space. In addition, the screen as the painting material into the painting, fully enhance the three-dimensional sense of the painting, for the creator's thoughts and feelings to provide sustenance. This article takes the screen in the period of five dynasties to the Song Dynasty as an example, analyzes the location of screen placement and the emotional culture contained in the screen, so as to strengthen the overall understanding of screen. The first chapter of this paper mainly describes the author through a large number of reference materials and in Changsha Tan Guobin Museum of Contemporary Art to "Song painting complete works" serious reading, summed up this period involving the number of screen paintings; And according to the screen shape of different screen works in the classification of the screen, the representative of the outstanding works are analyzed. The second chapter mainly analyzes the functions and characteristics of screen in painting works, first of all, it expounds the function of screen itself-dividing space, strict etiquette system; boundary but not boundary, separated and continuous; containing geomantic water, music is sentimental; aesthetic carrier, bedroom beautification; False and real dislocation, internal and external extension. Then, it expounds the characteristics of screen in the screen-guiding aesthetic perspective, superimposing aesthetic level; creating artistic conception of the picture to form a specific atmosphere; painting in the painting, not the loom; melting the elegance of the heart, point the mound in the chest; The content of this series of key explanation, analysis. The third chapter sums up the main content of screen in the painting and its function in the picture through the analysis of screen in the works. Finally, the fourth chapter of our modern painting about the use of screen and should pay attention to problems. Through the analysis of screen and screen in the picture, the paper discusses and analyzes the screen art from the angle of humanity and spirit. In the course of the research, the author draws lessons from the advanced ideas put forward by the predecessors and tries to find a more efficient and scientific understanding of screen art. At the same time, I also use the author's aesthetic, visual knowledge of the screen for historical interpretation.
【学位授予单位】：湖南科技大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J209.2

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