本文選題：越南 + 絹本��； 參考：《吉林大學(xué)》2013年碩士論文

【摘要】：越南，從與外國(guó)侵略者的不懈斗爭(zhēng)，到建立自己的國(guó)家，歷經(jīng)了一個(gè)漫長(zhǎng)的歷史過(guò)程。在這樣的歷史背景下，越南民族創(chuàng)造了即有豐富多樣性又飽含著濃厚民族性的越南美術(shù)。雖然每一次領(lǐng)土遭到外來(lái)侵略，民族的文化就遭受一次破損甚至接近毀滅，但是時(shí)至今日浴火重生的越南藝術(shù)特別是絹本繪畫(huà)日喻發(fā)展，日喻受到歡迎。雖然由于氣候條件、戰(zhàn)爭(zhēng)等因素的影像，古代絹本畫(huà)保留下來(lái)數(shù)量較少，但是它依然能作為越南今日絹本繪畫(huà)發(fā)展的前提。 越南絹本畫(huà)是由各位畫(huà)家把西方繪畫(huà)與東方繪畫(huà)藝術(shù)等藝術(shù)形式以獨(dú)特地方式結(jié)合起來(lái)而形成的，它表示出越南民族的靈魂。純潔、真實(shí)是越南絹本繪畫(huà)所表現(xiàn)的藝術(shù)特點(diǎn)，這也是越南民族思想與民族藝術(shù)的價(jià)值取向。越南人會(huì)通過(guò)絹本繪畫(huà)表示出他們對(duì)真、善、美等的渴望。這一點(diǎn)也讓越南美術(shù)以及絹本繪畫(huà)能夠延續(xù)并不斷的向前發(fā)展。 本研經(jīng)過(guò)究綜合諸多材料來(lái)分析比較找出越南絹本畫(huà)與世界上各國(guó)的絹本畫(huà)之間的相同處及異同處。通過(guò)這樣的比較，進(jìn)一步研究越南絹本畫(huà)中造型的特征。通過(guò)絹本畫(huà)的質(zhì)料、技術(shù)以及絹本畫(huà)里的人物都能顯示出越南對(duì)造型的觀念及思想精神有自己獨(dú)特的風(fēng)貌和表現(xiàn)手法。因此，越南絹本畫(huà)自古至今的各個(gè)時(shí)期的作品都反映越了南人民的日常生活，以及越南人民對(duì)家園國(guó)土上那如詩(shī)畫(huà)一般美麗的景色的熱愛(ài)，這些繪畫(huà)內(nèi)容都具有非常強(qiáng)的民族性。 “越南絹本繪畫(huà)的藝術(shù)特征”的論文主要進(jìn)行研究的問(wèn)題如下： 越南絹本繪畫(huà)形成與發(fā)展的過(guò)程，越南絹本畫(huà)以及中國(guó)、日本等絹本畫(huà)之間的差異。從中，指出越南絹本繪畫(huà)中的造型特征。越南絹本繪畫(huà)在不同階段表現(xiàn)示的民族性及現(xiàn)代性。越南絹本繪畫(huà)中的筆法與寫(xiě)意畫(huà)的筆法結(jié)合的獨(dú)特性。越南絹本繪畫(huà)中表示的感情審美。最后總結(jié)一下研究的各個(gè)問(wèn)題以及提出本人的一些建議，，讓越南絹本繪畫(huà)藝術(shù)不斷向前發(fā)展，提高自身的價(jià)值，并不停地學(xué)習(xí)世界上各國(guó)的絹本繪畫(huà)藝術(shù)。 希望通過(guò)本研究能讓大家領(lǐng)會(huì)越南絹本繪畫(huà)的特征，一個(gè)帶著深厚民族性的絹本繪畫(huà)。另一方面，希望本論文能作為研究理論工作不可缺少的材料，并能保存越南絹本繪畫(huà)的遺跡以及記錄越南絹本繪畫(huà)的發(fā)展過(guò)程。
[Abstract]:Vietnam has gone through a long history from its unremitting struggle with foreign invaders to the establishment of its own country. In such a historical background, the Vietnamese people created both rich diversity and rich ethnic Vietnamese art. Although every time the territory was invaded, the culture of the nation was damaged or even nearly destroyed, but the art of Vietnam, especially the silk painting day, was developed, and the Japanese metaphor was welcomed. Although ancient silk paintings have been preserved in relatively small numbers due to the images of weather conditions, war, and other factors, However, it can still be regarded as the premise of the development of sericine painting in Vietnam today. It is formed by the painters who combine western painting with oriental painting art in a unique way, which represents the soul of the Vietnamese nation. Purity and truth are the artistic characteristics of Vietnamese silk painting, which is also the value orientation of Vietnamese national thought and national art. The Vietnamese express their desire for truth, goodness, beauty, etc. This also enables the Vietnamese fine arts and silk painting to continue and develop continuously. After studying and synthesizing many materials to find out the similarities and differences between the Vietnamese silk paintings and the silk paintings from all over the world. Through such a comparison, the further study of Vietnamese silk painting in the modeling features. Through the material, technology and characters in the silk painting, it can be shown that Vietnam has its own unique style and expression of the concept and spirit of the shape. Therefore, the works of the Vietnamese sericbook paintings from ancient times to the present reflect the daily life of the Vietnamese people, as well as the love of the Vietnamese people for the beautiful scenery of their homeland, which is as beautiful as poetry and painting. The contents of these paintings are of a strong national character. The main problems of this paper are as follows: the process of the formation and development of the Vietnamese seric-based painting, the Vietnamese seric-based painting and China, The difference between Japanese and other silk paintings. From this, it points out the styling features of Vietnamese sericbook painting. Vietnamese silk painting in different stages of the performance of the national character and modernity. The uniqueness of the combination of brushwork and freehand brushwork in Vietnamese sericbook painting. The aesthetic feeling expressed in Vietnamese sericbook paintings. Finally, it summarizes the various problems of the study and puts forward some suggestions of myself, so that the painting art of Vietnamese sericbook will continue to develop and improve its own value. Through this study, we hope that we can understand the characteristics of Vietnamese silk painting, a silk painting with a deep national character. On the other hand, it is hoped that this paper can be used as an indispensable material for theoretical research, and can preserve the vestiges of Vietnamese silk paintings and record the development process of Vietnamese sericine paintings.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J133.3

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本文編號(hào)：1992684