【摘要】：本文以雍正粉彩仕女畫為切入點(diǎn)，綜合運(yùn)用分類學(xué)、圖像學(xué)、藝術(shù)學(xué)、藝術(shù)社會(huì)學(xué)等方法，，闡述了仕女形象的造型觀念，分析了豐富多彩的造型樣式及其發(fā)展變化，揭示了雍正時(shí)期粉彩畫仕女形象深刻的審美意蘊(yùn)和文化內(nèi)涵。并通過對(duì)雍正粉彩的藝術(shù)特征，粉彩人物仕女圖在陶瓷裝飾上的技法與表現(xiàn)等方面的具體展示分析，揭示了文人理想和女仙高潔，文人失意和閨中幽怨等深層次的關(guān)系。從而使我們對(duì)粉彩仕女形象與當(dāng)時(shí)特定時(shí)代社會(huì)生活及文化思想的關(guān)系有更深程度的理解。并對(duì)其技藝傳承和藝術(shù)創(chuàng)新之間的突出矛盾進(jìn)行了探索和思考，進(jìn)而站在技藝傳承與文化再生的高度來探尋雍正粉彩人物仕女畫藝術(shù)創(chuàng)新之路。
[Abstract]:This paper takes Yongzheng Pink Lady painting as the breakthrough point, synthetically uses the taxonomy, the image science, the art sociology and so on, elaborated the modelling idea of the lady image, analyzed the rich and colorful modelling style and its development change. It reveals the profound aesthetic meaning and cultural connotation of the beautiful woman image in Yongzheng period. Through the analysis of the artistic characteristics of Yongzheng Pink, the technique and expression of the painting of the Pink characters in the ceramic decoration, this paper reveals the deep relationship between the literati ideal and the female immortals Gao Jie, the literati frustration and the secluded resentment in the boudoir. So that we have a deeper understanding of the relationship between the image of women in pink color and the social life and cultural thought of the specific era at that time. And it explores and ponders the outstanding contradiction between its skill inheritance and artistic innovation, and then explores the artistic innovation road of Yongzheng Pink figures painting from the height of technology inheritance and cultural regeneration.
【學(xué)位授予單位】：景德鎮(zhèn)陶瓷學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J527;J211.25

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相關(guān)期刊論文 前8條

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本文編號(hào)：2129338