从门扉到书斋：10-19世纪钟馗图像的形塑与变迁

发布时间：2018-06-28 21:01

本文选题：钟馗图像 + 鬼神画　；参考：《宁波大学》2017年硕士论文

【摘要】：本文试图以“风格——画意”的关系为角度,利用空间的变化为线索来重新检视10-19世纪以钟馗为母题的绘画在中国绘画史上的发展。“钟馗”画历史久远,形式丰富,是中国绘画史上十分独特的一类绘画。作为一个历久弥新的图像,其背后有着复杂的文化变迁,沉淀与反思,并在岁月演衍的过程中不断再生创发,成为中国美术史上极具代表性的绘画传统。就已有的研究成果显示,对于这一主题绘画作品的研究大都采用“不同时期——形式差异”的论述框架,研究着重于钟馗绘画的地域、样式分类及其产生的文化影响等方面。本文拟在此基础上,通过对“内在脉络变化”的观察,同时以历代使用空间的转变为切入点,探讨了这一传统主题的形塑与变迁,并阐释其背后所具有的文化意义。通过对问题与研究范围的说明与界定,以及对这一主题的研究史进行回顾,缕析古代文献中钟馗系列传说的核心情节之所在,并以此为出发点探讨钟馗图像的民间性格成因与钟馗绘画在画史上的定位。同时,将10—19世纪有代表性的钟馗图像进行纵向梳理与排列,以期窥见每个时代不同的图像配置与绘画风格。综合所有图像特性,结合当时历史环境与文化特征等因素,能够阐述9个世纪以来钟馗视觉图像的形塑与嬗变过程。以钟馗图像使用位置的变化为线索,其位置所承担的不同职能可以诠释钟馗绘画画意的转变。从唐代带有强烈鬼神画特性的表现到宋元世俗化情节的丰富,再到明清为文人阶层所清赏。钟馗这一传统主题,在漫长的9个多世纪中,不断有新的参与者加入创作,扩大并丰富其意涵,为这一具有民间性格的传统主题注入源源不断的生命力。
[Abstract]:This paper attempts to re-examine the development of painting in the history of Chinese painting in the 10-19 century with Zhong Kui motif as its motif, from the angle of the relationship between stylism and pictorial meaning, using the change of space as a clue. Zhong Kui painting has a long history and rich form. It is a unique kind of painting in the history of Chinese painting. As a long-lasting new image, behind the complex cultural changes, precipitation and reflection, and in the course of years of continuous regeneration and creation, has become a very representative painting tradition in the history of Chinese art. According to the existing research results, most of the research on this subject is based on the framework of "different period-form difference", which focuses on the region of Zhong Kui painting, style classification and its cultural impact. On this basis, through the observation of "the change of the internal context" and the change of the space used in the past dynasties, this paper discusses the shape and change of this traditional theme, and explains the cultural significance behind it. Through the explanation and definition of the problem and the scope of research, as well as the review of the history of the research on this subject, this paper analyzes the core plot of the Zhong Kui series legends in the ancient literature. From this point of view, this paper discusses the causes of the folk character of Zhong Kui images and the orientation of Zhong Kui painting in the history of painting. At the same time, the representative Zhong Kui images of the 10-19 century are combed and arranged longitudinally in order to get a glimpse of the different image configurations and painting styles of each era. Combined with all the image characteristics and the historical environment and cultural characteristics of the time, the shaping and transmutation process of Zhong Kui visual images over the past 9 centuries can be expounded. According to the change of the position of the Zhong Kui image, the different functions of the position can interpret the change of the painting meaning of Zhong Kui. From the Tang Dynasty with strong ghost painting characteristics to the Song and Yuan secularization of the rich plot, to the Ming and Qing dynasties by the literati class. Zhong Kui, a traditional theme, has been created by new participants for more than nine centuries, expanding and enriching its meaning, and infusing a continuous stream of vitality into this traditional theme with folk character.
【学位授予单位】：宁波大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

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