法国十九世纪上半叶绘画中东方元素研究

发布时间：2018-11-21 17:58

【摘要】：西方艺术史中东方主义题材通常是特指十九世纪初到二十世纪初,以北非和中东为题材的欧洲绘画。而这一术语在十九世纪下半叶乃至今天被扩展至更广的范围,包括了东南亚和远东,尤其是中国和日本这两个国家。本文为回归东方原初的涵义与本质,故选择十九世纪欧洲艺术之都法国作为研究对象,主要对法国十九世纪上半叶两个重要流派的绘画作品中体现的东方元素以及东方主义思想进行研究。本文从艺术学角度,运用艺术社会历史学、图像学等学科的研究方法,主要对以下四个方面进行分析:一是对法国新古典主义与浪漫主义的历史时代背景加以剖析,分析法国艺术中安格尔与德拉克洛瓦东方元素的建立和东方主义思想产生的原因,此时已经成为风尚的东方元素不仅体现在这两位代表人物的画中,还体现在其他画家的画作中;二是以法国新古典主义的代表人物安格尔的绘画为中心,通过对其闺房与浴室裸女为题材以及以“性”和种族歧视为主题的分析,建构西方对东方天然的优越感;三是以法国浪漫主义的代表人物德拉克洛瓦的绘画为中心,从其题材的变革和以专制与暴力为主题等角度,分析他绘画中具有的东方元素的表征,进而将浪漫主义绘画中西方对东方的想象建构成一种奇观,一种源于对自身的关注;四是主要是通过上述的论证,并借鉴了美国学者爱德华·萨义德对于东方主义和文化霸权的研究成果,重新审视法国绘画中的东方主义思想。针对东方题材绘画,本文一方面是对法国乃至整个欧洲绘画产生的积极影响进行论述,另一方面则是对绘画艺术中体现出的殖民化意识形态进行批判。客观合理看待东西方艺术的差异性,将东西方艺术平等地放在一个重新建构的体系中解读,更加有利于跨语境研究真正意义上的“世界艺术”。
[Abstract]:Orientalism in the history of western art usually refers to European paintings with the themes of North Africa and the Middle East from the beginning of the nineteenth century to the beginning of the twentieth century. The term was extended to a wider range in the second half of the nineteenth century and today, including Southeast Asia and the far East, especially China and Japan. In order to return to the meaning and essence of the oriental primitive, this paper chooses France, the art capital of Europe in the nineteenth century, as the object of study. The oriental elements embodied in the painting works of two important schools in the first half of the 19th century in France and the orientalism thought were studied. From the point of view of art, this paper mainly analyzes the following four aspects by using the research methods of art, social history, graphics and so on: first, it analyzes the historical background of French neoclassicism and romanticism. By analyzing the establishment of the oriental elements of Angel and Delacroix in French art and the reasons for the orientalism, the oriental elements, which have become fashionable at this time, are not only reflected in the paintings of these two representative characters. Also reflected in the paintings of other painters; Secondly, taking the painting of Angel, the representative figure of Neo-classicism in France, as the center, through the analysis of his boudoir and the naked woman in the bathroom as well as the theme of "sex" and racial discrimination, to construct the natural superiority of the West towards the East; Thirdly, taking the representative figure of French romanticism, Delacroix, as the center, from the angle of the change of his theme and the theme of autocracy and violence, this paper analyzes the representation of the oriental elements in his painting. Then it constructs the western imagination of the East in Romantic painting as a kind of spectacle, a kind of concern to oneself; Fourth, mainly through the above argument, and draw lessons from the American scholar Edward said of orientalism and cultural hegemony, re-examine the Orientalism in French painting. On the one hand, this paper discusses the positive influence of painting in France and even the whole of Europe, on the other hand, it criticizes the colonization ideology embodied in painting art. It is more helpful to study "world art" in the true sense of cross-context study by objectively and reasonably treating the difference of art between East and West and putting it equally in a re-constructed system.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

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