汉代造型艺术中兽纹装饰的审美意蕴

发布时间：2018-05-11 03:34

本文选题：汉代 + 造型艺术　；参考：《山东艺术学院》2011年硕士论文

【摘要】：本文首先从汉代造型艺术中兽纹装饰的兴起展开，从原始社会兽纹装饰的产生，到春秋战国、秦代兽纹装饰的发展历程，归纳出兽纹装饰的发展概况。再从汉代造型艺术中兽纹装饰的历史成因来分析，主要从大汉帝国的形成与巩固，两汉儒学大一统思想的礼教作用，道教神仙巫术的影响三方面进行阐述。展开对两汉兽纹装饰的发展历程、形式特征以及审美意蕴的阐释。西汉初期，兽纹装饰发展迟缓，更多地承接了战国遗风，呈现出自然延续的状态。其中兽纹装饰在帛画和漆画中占据首要位置，人首蛇身、奇幻异兽纷然而至，画面有引向天界的视觉效果。从汉武帝（公元前140年至公元前87年）至汉章帝（公元76年至公元88年）时期二百余年间，是汉代造型艺术发展的鼎盛时期，也是兽纹装饰最活跃的时期。因厚葬之风盛行，以及谶纬之学的影响，帛画、墓室壁画以及漆画等造型艺术极为盛行，这时大批祥禽瑞兽伴随着几何纹饰的运用成为造型艺术的主要表现形式。统治者利用天地瑞兽装饰体现对其德行的肯定，也是向往死后追求天人合一的体现。汉和帝时期（公元89年至公元105年）至汉末，汉代兽纹装饰发展趋向成熟的阶段，兽纹种类空前繁多，造型千姿百态，刻绘技巧娴熟，兽纹装饰占据了造型艺术的主导地位。造型艺术逐渐扩展到各个门类，但其用意仍不在于装饰，依旧体现“恶以诫世，善以示后”的封建教化作用。尤其是画像石、画像砖的空前繁盛，使兽纹装饰的表现形式更多从宴乐、射猎、战争、采桑等现实生活题材中突出兽纹的重要性。这一时期的兽纹装饰不再使用某一种动物形象，而是动物纹、几何纹、植物纹相互组合穿插形成新变体。表现手法更加夸张化和自由化，甚至升为图腾崇拜，表现出极强的生命力量，显示出汉代宏大巨阔的造型之美。但其稚拙的造型，缺乏精准的表现能力，其内容未能突破某种程式的约束，直到唐代纯熟的技艺下盛行的植物纹饰，兽纹装饰逐渐失去了风采和意蕴。兽纹装饰表现在造型艺术中，从内容到题材的不同，表现方式到造型手段的差异，表现出不同的形式特征。而在汉代形成的审美思想指引下，汉代兽纹装饰的形式特征又具有相通性，从艺术形式本身来探讨其美学意蕴，这个过程鲜明地反映了对美学形式的追求。概括来说从质朴古拙，动感有力，满密繁复这三个方面的形式特征来表现兽纹装饰造型艺术，表现在相对独立的艺术样式（如雕刻、绘画）中逐渐趋于成熟的发展。本文分析汉代造型艺术中兽纹装饰的美学意蕴首先概括为生命力量之美，看似质朴古拙的兽纹装饰，必然蕴含着内在的审美性，那种浑然天成的整体性的内在力量和对生命力的赞许构成了汉代兽纹装饰的美学风格。其二是自由夸张之美，以动物为符号或象征的神仙奇幻世界成为重要的艺术内容和审美对象，使得艺术风格更为生趣盎然，自由夸张，挥洒自如。表现出汉代人自由不羁、挥洒如墨的审美意蕴。其三是宏大巨阔之美，在汉代造型艺术中，把兽纹装饰这种艺术形式的张力和活力运用到了极致。从艺术形式和审美气蕴中都体现宏大巨阔之美，，表现了人对物质世界和自然对象的征服主题。尽管粗拙笨稚，却气派雄沉，令人心胸开阔。基于对以上汉代兽纹装饰的阐释与综合探讨，雕绘相济的造型，流动劲健的线条、灵活多变的构图，赋予它独特的形式美感。写实主义、浪漫主义互为表里的交汇融合，使之呈现出丰富多姿的美学风格，即使在今天，汉代兽纹装饰仍散发着迷人的精神魅力，具有重要的现代意义。
[Abstract]:This article begins with the rise of the animal pattern decoration in the plastic arts of the Han Dynasty. From the origin of the animal pattern in the primitive society to the development of the spring and Autumn Warring States, the development of the animal pattern decoration in the Qin Dynasty, the development of the animal pattern decoration is summed up. The historical causes of the animal pattern decoration in the Han Dynasty's plastic art are analyzed, mainly from the formation and consolidation of the Great Han Empire, and the Han Dynasty. The ritual role of Confucianism and the influence of the Taoist immortal witchcraft are expounded in three aspects. The development process, the form features and the aesthetic meaning of the animal pattern decoration of the Han Dynasty are expounded.
In the early period of the Western Han Dynasty, the development of animal pattern decoration was slow, which took on the remains of the Warring States, which took on the state of natural continuity. The animal pattern decoration occupies the first place in silk painting and lacquer painting, the first snake body is the first snake body, the strange animal is in a dispute, the picture has the visual effect to the sky. From the Han Wu Emperor (140 BC to 87 BC) to the Han Dynasty Emperor (7 A.D.) During the period of more than 200 years from 6 to 88 A.D., it was the flourishing period of the development of plastic arts in the Han Dynasty and the most active period of animal pattern decoration. Because of the prevailing wind and the influence of the learning of prophecy, the plastic arts of silk painting, tomb murals and lacquer painting were very popular, and the large batch of birds and animals were accompanied by the use of geometric ornamentation. The main manifestation of the art is that the rulers use the heaven and earth animal decoration to embody the affirmation of their virtue, and the embodiment of the pursuit of the unity of heaven and man after death. The period of Han and Emperor's period (from 89 to 105 A.D.) to the end of the Han Dynasty, the development of the animal pattern decoration in the Han Dynasty tends to mature, and the animal pattern has an unprecedented variety, various shapes and styles, and the beasts of the beasts and animals. The decorative pattern occupies the dominant position of the plastic arts. The art of modeling is gradually extended to various categories, but its meaning is still not the decoration, and it still embodies the feudal teaching effect of "evil to warn the world and good to show". On the subject of real life, the importance of the animal pattern is highlighted. The animal pattern is no longer used in this period, but the animal pattern, geometric pattern and plant pattern are interspersed with each other to form a new variant. The expression technique is more exaggerated and liberalized and even totem worship, showing great strength of life, showing the grand and huge Han Dynasty. The beauty of modeling, but its childish modeling, the lack of accurate performance, its content failed to break through the constraints of a certain program, until the Tang Dynasty, the flourished art of plant ornamentation, animal pattern decoration gradually lost the style and implication.
The animal pattern decoration shows in the plastic art, from the different content to the subject matter, the way of expression to the difference of the modeling means, showing different forms and characteristics. Under the guidance of the aesthetic thought formed in the Han Dynasty, the form features of the animal pattern in the Han Dynasty are interlinked, and the aesthetic implication is discussed from the artistic form itself. This process is in sharp contrast. The pursuit of aesthetic form is reflected. In general, the form features of the three aspects, simple and unadorned, powerful and full of complexity, show the art of animal pattern decoration, and are gradually developed in a relatively independent artistic style (such as sculpture and painting).
This article analyzes the aesthetic implication of the animal pattern decoration in the Han Dynasty's plastic arts, which is first summarized as the beauty of life strength. It seems that the unadorned and unclumsy animal grain decoration inevitably contains the inner aesthetic nature. The innate inner strength and the praise of the vitality constitute the aesthetic style of the animal grain decoration of the Han Dynasty. Beauty, the magical world of immortals with animals as symbols or symbols has become an important artistic content and aesthetic object, making the artistic style more interesting, free and exaggerated and free and easy. It shows the aesthetic meaning of the free and unrestrained people of the Han Dynasty, and the third is the grand and vast beauty, and the art of the Han Dynasty adornment this art with animal grain. The tension and vitality of the form are applied to the extreme. From the artistic form and the aesthetic meaning, the grand and grand beauty is reflected, showing the subject of conquest of the material world and the natural object.
Based on the interpretation and comprehensive discussion of the animal pattern decoration of the Han Dynasty above, the sculpt of relief and painting, the flow of strong lines and the flexible composition give it a unique aesthetic feeling. The combination of realism and romanticism makes it rich and colorful, even today, the animal pattern decoration in the Han Dynasty still emanates. The fascinating spiritual charm has an important modern meaning.

【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J505

【参考文献】