《步辇图》图像研究
发布时间：2018-11-24 15:54
【摘要】：人物画是中国绘画发展进程中较早的画科,包含各种肖像、风俗以及历史故事等题材。随着人们思维方式的转变,审美意识的提高,人物绘画题材多样,绘画技法趋向成熟,在初唐时期既已达到高潮。在今天,尽管唐代存世的绢(纸)本人物画作品较少,但是我们依然可以从摹本、墓室壁画、石刻画等作品中分析总结出当时画家的绘画手法及意旨表达。 本文以《步辇图》(宋摹·传阎立本)为主要研究对象,将绘画史上相关问题集中在该作品中去进行讨论。其作者阎立本(约600-673),历经武德到贞观(626-648)年间,属唐朝的初期,是本文研究的时间范围。本文通过个案,以小见大,以点带面,对唐代具有代表性的人物绘画作品《步辇图》进行研究,进而对唐代人物绘画风格流变及其社会功能意义进行探讨。 本文主要从以下四个部分论述： 第一部分,梳理初唐的社会、经济、文化状况,构建初唐绘画语言转型期的时代背景。初唐的人物画是与统治者在文化政策上的倡导分不开的,因此,初唐美术在题材上明显地透露出时代特征。 第二部分,从视觉心理角度对《步辇图》的构图进行分析。构图对绘画来说是一幅画成败的关键所在。文章指出画卷中整体具有平衡、运动的视觉感受以及传统绘画常用的布白特征。绘画中对所有的客观形状及其构成效果的感知基本是由视觉完成的,因此,有必要从视觉心理角度对整个绘画活动进行分析。 第三部分,通过相关文物、古迹、文献的对比分析总结阎立本的绘画语言。本文认为阎立本的《步辇图》正是在转型中合理的继承并发挥自身优势,创作出具有时代性和独创性的作品。 第四部分,总结初唐绘画对盛唐人物画的影响。表现在创作题材上由政治题材扩散至宫廷仕女生活等题材,以及盛唐时期宫廷绘画的确立及画师队伍的制度化及规范化等方面。 本文从有关初唐时期绘画的图像资料遗存与史料入手,结合视觉心理进行画面结构与形式的分析,梳理过渡时期绘画作品的绘画语言,并对人物画由政治色彩转向视觉审美体验的方向发展进行分析。
[Abstract]:Figure painting is an early subject in the development of Chinese painting, including various portraits, customs and historical stories. With the change of people's mode of thinking, the improvement of aesthetic consciousness, the variety of subjects and techniques of painting, the climax has been reached in the early Tang Dynasty. Today, although there are few paintings of silk (paper) in the Tang Dynasty, we can still analyze and sum up the painting techniques and the expression of intention of the painters at that time from the works of copy, tomb murals, stone depiction and so on. In this paper, the main research object is "walking picture" (Song Li-zhuan Yan Li-ben), and the related problems in the history of painting are discussed in this work. The author Yan Liben (about 600-673), after the period from Wu de to Zhenguan (626-648), belongs to the initial stage of Tang Dynasty, and is the time range of this paper. This article through the case, through a small part to see the whole, with the point belt surface, carries on the research to the Tang Dynasty representative personage painting work "the chariot step picture", then carries on the discussion to the Tang Dynasty figure painting style change and its social function significance. This article mainly discusses from the following four parts: the first part, combing the social, economic and cultural situation of the early Tang Dynasty, and constructing the background of the transition period of the painting language in the early Tang Dynasty. The figure painting of the early Tang Dynasty is inseparable from the advocate of the ruler in the cultural policy, therefore, the art of the early Tang Dynasty clearly revealed the characteristics of the times on the subject matter. In the second part, the composition of walking picture is analyzed from the angle of visual psychology. Composition is the key to the success or failure of a painting. The paper points out that the whole picture has the characteristics of balance, visual feeling of movement and traditional painting. In painting, the perception of all objective shapes and their constituent effects is basically accomplished by vision. Therefore, it is necessary to analyze the whole painting activity from the angle of visual psychology. The third part, through the correlation cultural relic, the monument, the literature contrast analysis summarizes Yan Liben's drawing language. This paper holds that Yan Li-ben 's "walking picture" is a reasonable inheritance and exertion of his own advantages in the transformation, and he has created works of epoch and originality. The fourth part, summarizes the early Tang Dynasty painting to the prosperous Tang Dynasty figure painting influence. It is manifested in the themes of creation, such as the spread of political themes to the life of court ladies, as well as the establishment of court paintings and the institutionalization and standardization of painting teachers in the high Tang Dynasty. This article starts with the image data and historical data of painting in the early Tang Dynasty, and combines the visual psychology to analyze the picture structure and form, and combs the painting language of the painting works in the transitional period. The development of figure painting from political color to visual aesthetic experience is analyzed.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2354294
[Abstract]:Figure painting is an early subject in the development of Chinese painting, including various portraits, customs and historical stories. With the change of people's mode of thinking, the improvement of aesthetic consciousness, the variety of subjects and techniques of painting, the climax has been reached in the early Tang Dynasty. Today, although there are few paintings of silk (paper) in the Tang Dynasty, we can still analyze and sum up the painting techniques and the expression of intention of the painters at that time from the works of copy, tomb murals, stone depiction and so on. In this paper, the main research object is "walking picture" (Song Li-zhuan Yan Li-ben), and the related problems in the history of painting are discussed in this work. The author Yan Liben (about 600-673), after the period from Wu de to Zhenguan (626-648), belongs to the initial stage of Tang Dynasty, and is the time range of this paper. This article through the case, through a small part to see the whole, with the point belt surface, carries on the research to the Tang Dynasty representative personage painting work "the chariot step picture", then carries on the discussion to the Tang Dynasty figure painting style change and its social function significance. This article mainly discusses from the following four parts: the first part, combing the social, economic and cultural situation of the early Tang Dynasty, and constructing the background of the transition period of the painting language in the early Tang Dynasty. The figure painting of the early Tang Dynasty is inseparable from the advocate of the ruler in the cultural policy, therefore, the art of the early Tang Dynasty clearly revealed the characteristics of the times on the subject matter. In the second part, the composition of walking picture is analyzed from the angle of visual psychology. Composition is the key to the success or failure of a painting. The paper points out that the whole picture has the characteristics of balance, visual feeling of movement and traditional painting. In painting, the perception of all objective shapes and their constituent effects is basically accomplished by vision. Therefore, it is necessary to analyze the whole painting activity from the angle of visual psychology. The third part, through the correlation cultural relic, the monument, the literature contrast analysis summarizes Yan Liben's drawing language. This paper holds that Yan Li-ben 's "walking picture" is a reasonable inheritance and exertion of his own advantages in the transformation, and he has created works of epoch and originality. The fourth part, summarizes the early Tang Dynasty painting to the prosperous Tang Dynasty figure painting influence. It is manifested in the themes of creation, such as the spread of political themes to the life of court ladies, as well as the establishment of court paintings and the institutionalization and standardization of painting teachers in the high Tang Dynasty. This article starts with the image data and historical data of painting in the early Tang Dynasty, and combines the visual psychology to analyze the picture structure and form, and combs the painting language of the painting works in the transitional period. The development of figure painting from political color to visual aesthetic experience is analyzed.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
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