【摘要】： 漢畫像石是中國美術(shù)史上較具代表性的藝術(shù)遺存,其題材豐富、制作簡便、手法豐富多樣。籍著石料上鑿刻的圖像、文字,描繪漢代人的物質(zhì)和精神生活,彰顯出漢代深沉雄大的時代氣息,具有較高的藝術(shù)和史料價值,“伏羲女媧”題材在漢畫像石中出現(xiàn)較為頻繁。本文擬以梳理“伏羲女媧”為題材的畫像石的分布地域、時間為基礎(chǔ),對“伏羲女媧”進(jìn)行歸類,解析“伏羲女媧”漢畫像石在造型性與形式特征上的變遷情狀,進(jìn)而論析“伏羲女媧”漢畫像石樣式風(fēng)格所具有的學(xué)理價值,即該變遷不僅是其本身樣式風(fēng)格的形成途徑,亦是當(dāng)下承續(xù)傳統(tǒng)、創(chuàng)造新藝術(shù)樣式風(fēng)格不可忽視的重要途徑、手段。本論文的創(chuàng)新點(diǎn)在于論述了“伏羲女媧”為題材的畫像石的變遷、樣式風(fēng)格的形成,及其與承續(xù)傳統(tǒng)、創(chuàng)造新藝術(shù)之樣式風(fēng)格的關(guān)系。 本論文主要分為四章: 第一章簡述了“伏羲女媧”的起源、發(fā)展,并用圖表分析法梳理了“伏羲女媧”畫像石的分布概況。首先,借助縱向比較,以時間為主線,將東漢早期、中期、晚期、末期等四個時期“伏羲女媧”漢畫像石的樣式風(fēng)格進(jìn)行分析,并探求其異同;其次,借助橫向比較,以地域變遷為主線,通過分析中原、北方、西南三地區(qū)“伏羲女媧”畫像石因地域而異的狀況,探求其所形成的樣式風(fēng)格的演變與發(fā)展。 第二章,運(yùn)用造型學(xué)原理,以“伏羲女媧”畫像石中的人物形象、構(gòu)圖特色、情景塑造和雕刻手法為切入點(diǎn),通過概括性和整體性、變形性與夸張性、對稱性與均衡性等形式美法則對“伏羲女媧”的形式進(jìn)行分析。創(chuàng)作者為表達(dá)自己的思想、塑造“伏羲女媧”之形象,采用了打破時空限制,把發(fā)生在不同時空的事物描繪于同一畫面上,以二維空間為基礎(chǔ),根據(jù)形象的變化,多種雕刻手法結(jié)合,突出形體,借用光線,使“伏羲女媧”漢畫像石的整體畫面具有深淺不同的明暗視覺效果、動靜相宜的立體形式美感,為“伏羲女媧”漢畫像石在變遷中所形成的樣式風(fēng)格奠定了基礎(chǔ)。 第三章,探討“伏羲女媧”在變遷中所形成的樣式風(fēng)格并作比較,以樣式為切入點(diǎn)。首先,將“伏羲女媧”畫像石與其它畫像石進(jìn)行構(gòu)圖、樣式地比較分析,發(fā)現(xiàn)二者的異同;其后,在論述“伏羲女媧”畫像石與其它畫像石樣式風(fēng)格相似性的基礎(chǔ)上,探究變遷與樣式風(fēng)格形成、承續(xù)的關(guān)系。 第四章,在以上三章對“伏羲女媧”漢畫像石變遷與樣式風(fēng)格研究的基礎(chǔ)上,進(jìn)一步從造型學(xué)視野出發(fā),探究在變遷過程中所形成的樣式風(fēng)格所具有的學(xué)理價值。具體而言,首先,通過探究變遷在“伏羲女媧”漢畫像石樣式風(fēng)格形成的作用與意義。變遷不僅奠定“伏羲女媧”漢畫像石樣式風(fēng)格的途徑,而且也是其得以承續(xù)的途徑;其次,通過變遷與形神、變遷與取舍關(guān)系的論述,探究變遷與樣式風(fēng)格的深層關(guān)系,揭示變遷與樣式風(fēng)格在造型學(xué)中具有表象展示與內(nèi)質(zhì)外顯的積極作用,提出變遷與樣式風(fēng)格在視覺表象上均是外在的、具體的、可視的;而在事物內(nèi)質(zhì)上卻是內(nèi)在的、本質(zhì)的、蘊(yùn)含的,有時甚至是抽象的。形是神賴以生存的軀殼,形無神不活;神是形賦予生命的靈魂,神無形不存�！胺伺畫z”漢畫像石及樣式風(fēng)格的變遷離不開形神兼?zhèn)?是形神兼?zhèn)涞漠a(chǎn)物。由此可得,在變遷發(fā)展中所具有的相似性可以作為一種承續(xù)傳統(tǒng)造型藝術(shù)和創(chuàng)造新的造型藝術(shù)之樣式風(fēng)格的不可忽視的重要途徑與手段。在深入研究之同時,不可忽視其中形神與取舍的意義與作用。 畫像石主題的變遷與樣式風(fēng)格的形成,與傳統(tǒng)造型藝術(shù)樣式風(fēng)格的承續(xù)、新的造型藝術(shù)樣式風(fēng)格的創(chuàng)造有著不可忽視的關(guān)系。為此,進(jìn)一步強(qiáng)化對造型藝術(shù)中變遷的探究,承續(xù)傳統(tǒng)造型藝術(shù)樣式風(fēng)格和創(chuàng)造新的造型藝術(shù)之樣式風(fēng)格均具學(xué)理價值和實踐價值,其對造型學(xué)尤其是基礎(chǔ)造型學(xué)的形成與發(fā)展也具積極意義。
[Abstract]:Han-picture stone is a representative art in the history of Chinese fine art. Its subject matter is rich, its making is simple and convenient, and the method is rich and varied. The images and characters, which are carved on the stone, depict the material and spiritual life of the people in the Han Dynasty. This paper is to sort out the distribution area and time of the picture and stone, which is the theme of Fu's female, to classify it, to analyze the change of the style and form of the female's portrait stone, and to analyze the academic value of the style of the style. That is, the change is not only the form of its own style, but also an important way to continue the tradition and create the style of the new art. The innovation point of this thesis is to discuss the change of the picture and stone, the formation of the style of style, and the relationship between the style of the new art and the style of the new art. The main part of this paper In the first chapter, the origin and development of the "Voltaenia foetida" are described in the first chapter, and the "Voltaenia foetida" drawing is analyzed by the graph analysis method. Firstly, by means of the vertical comparison, the style style of the "Voltaenia foetida"-and-Han-style stone in the early, middle, late and end of the Eastern Han Dynasty is analyzed, and the similarities and differences are explored; secondly, by means of the horizontal comparison, the main line of regional change is adopted, The paper analyzes the situation of the picture and stone in the three parts of the Central Plains, the north and the southwest of the Central Plains due to the geographical condition, and explores the style of the style. The second chapter, using the principle of modelling, uses the figure, the composition, the scene-shaping and the carving technique in the picture stone of the women's picture of Fu's as the cut-in point, through the formal beauty rule of generality, integrity, deformation and quartile, symmetry and balance, and the Han's portrait stone style is not only the way to lay the style of the "Voltaenia foetida" and the style of the Stone Style, but also the way it can be continued; secondly, through the change and the form of God, the change and the trade-off This paper discusses the deep relationship between the change and the style style, and reveals the positive effect of the change and the style style in the modeling study. The change and style style are both external, concrete and visible in the visual representation. In nature, contained, sometimes even abstract. The shape is the body of God's existence. Do not live; God is the soul that gives life to life, and God is invisible. The change of the form and the combination of the form and the spirit is the product of the combination of the gods and the gods. The similarities between the development of the change and the development of the change can be used as a continuation of the traditional art and the creation of new forms. The non-negligible way and means of the style of the style of the technique. On the basis of the change of the theme of the portrait stone and the formation of the style of the style, and the continuation of the style of the traditional artistic style The creation of the new style of the artistic style has a non-negligible relationship. To this end, to further strengthen the study of the change of the stylized art, the style of the traditional artistic style and the style of the creation of the new type of art are of good value and practical value.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：K879.4

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 余糧才;蘆蘭花;;二十世紀(jì)以來伏羲研究概述[J];西北民族研究;2012年01期

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本文編號：2484202