南阳汉画像石祥瑞图形研究
发布时间：2018-12-06 20:36
【摘要】： 我国古代的祥瑞观念起源于先秦,在两汉时期得到系统化、理论化的升华。祥瑞观念的出现对汉代各门类艺术的发展具有深远的促进作用。南阳汉画像石是汉代祥瑞思想的一个重要载体。本课题把南阳汉画像石祥瑞图形中的代表性作品和文献资料相结合,综合运用图像学、美学及艺术心理学的方法,总结归纳出南阳汉画像石祥瑞图形的艺术成因及其美学特征。南阳画像石艺术成因主要由两汉政治、经济、文化和艺术等方面形成的时代背景及南阳的地理环境,经济的发达及铁制工具的推广、改良等方面形成的区域背景共同组成。南阳汉画像石祥瑞图形的美学特征包含了祥瑞图形的阴阳意识、气韵生动的线形、意象造型和视觉张力四个方面。其中南阳汉画像石祥瑞图形的阴阳意识主要体现在祥瑞图形的内容、造型和配置以及阴刻与阳刻相结合的手法等方面；气韵生动的线形表达可谓是南阳汉画像石祥瑞图形最具神韵的特征之一,图中有形的线浪漫、洒脱,富有弹性、动感强烈而坚韧。而图中的“势”(无形的线)或奔腾、或凌厉、或外张、或跌宕；意象造型的美学特征表现在南阳汉画像石祥瑞图形重“意”轻“象”,不求形似,但求神似,寓“意”在质朴与豪放之中；南阳汉画像石祥瑞图形表现出的视觉张力之刚健美与波澜壮阔的大汉之美是一脉相通的,它表现在简明图形的单纯之美、动感图形的韵律之美、夸张图形的奇异之美、“石花”的空灵之美。我们今天重视南阳汉画像石祥瑞图形艺术,有助于我们对南阳汉画像石祥瑞图形的艺术价值和文化价值有更深层次的理解和把握；有助于我们进一步探索传统艺术与现代设计的“共通,共融,共进”。
[Abstract]:The Xiangrui concept in ancient China originated in the pre-Qin Dynasty and was systematized and theorized in the Han Dynasty. The appearance of Xiangrui concept has a profound effect on the development of various kinds of art in Han Dynasty. The stone relief in Nanyang Han Dynasty is an important carrier of Xiangrui thought in Han Dynasty. In this paper, the representative works of Nanyang Han Dynasty stone portrait and the literature and materials are combined, and the artistic causes and aesthetic characteristics of Nanyang Han stone auspicious figure are summed up by using the methods of graphics, aesthetics and artistic psychology. The causes of stone relief art in Nanyang are mainly composed of the political, economic, cultural and artistic background of the Han Dynasty, the geographical environment of Nanyang, the development of economy, the promotion of iron tools, and the regional background of improvement. The aesthetic features of Xiangrui figure of Han Dynasty in Nanyang contain four aspects: Yin and Yang consciousness of Xiangrui figure, vivid line shape of charm, image modeling and visual tension. Among them, the Yin and Yang consciousness of Nanyang Han stone portrait Xiangrui figure is mainly reflected in the content, shape and configuration of Xiangrui figure, as well as the combination of Yin and Yang engraving and so on. The vivid linear expression of the charm is one of the most charming features of the figure of stone relief in Nanyang Han Dynasty. The visible line is romantic, free and easy, elastic, dynamic and strong and tough. And the picture of the "potential" (invisible line) or Pentium, or fierce, or out, or ups and downs; The aesthetic features of image modeling are manifested in Nanyang Han Dynasty stone portrait Xiangrui figure, "meaning" light "elephant", not seeking for likeness, but seeking god resemblance, "meaning" in plain and bold; The visual tension shown by the auspicious figure of the stone relief of the Han Dynasty in Nanyang is the same as the beauty of the magnificent man. It is manifested in the simple beauty of the concise figure, the beauty of the rhythm of the moving figure, and the singular beauty of the exaggerated figure. The idyllic beauty of Stone Flower. Today, we attach importance to the Xiangrui figure art of Nanyang Han Dynasty stone portrait, which is helpful for us to have a deeper understanding and grasp of the artistic value and cultural value of the stone Xiangrui figure of Nanyang Han Dynasty. Help us to explore the traditional art and modern design of the "common, blend, advance together."
【学位授予单位】：中原工学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K879.4
本文编号：2366619
[Abstract]:The Xiangrui concept in ancient China originated in the pre-Qin Dynasty and was systematized and theorized in the Han Dynasty. The appearance of Xiangrui concept has a profound effect on the development of various kinds of art in Han Dynasty. The stone relief in Nanyang Han Dynasty is an important carrier of Xiangrui thought in Han Dynasty. In this paper, the representative works of Nanyang Han Dynasty stone portrait and the literature and materials are combined, and the artistic causes and aesthetic characteristics of Nanyang Han stone auspicious figure are summed up by using the methods of graphics, aesthetics and artistic psychology. The causes of stone relief art in Nanyang are mainly composed of the political, economic, cultural and artistic background of the Han Dynasty, the geographical environment of Nanyang, the development of economy, the promotion of iron tools, and the regional background of improvement. The aesthetic features of Xiangrui figure of Han Dynasty in Nanyang contain four aspects: Yin and Yang consciousness of Xiangrui figure, vivid line shape of charm, image modeling and visual tension. Among them, the Yin and Yang consciousness of Nanyang Han stone portrait Xiangrui figure is mainly reflected in the content, shape and configuration of Xiangrui figure, as well as the combination of Yin and Yang engraving and so on. The vivid linear expression of the charm is one of the most charming features of the figure of stone relief in Nanyang Han Dynasty. The visible line is romantic, free and easy, elastic, dynamic and strong and tough. And the picture of the "potential" (invisible line) or Pentium, or fierce, or out, or ups and downs; The aesthetic features of image modeling are manifested in Nanyang Han Dynasty stone portrait Xiangrui figure, "meaning" light "elephant", not seeking for likeness, but seeking god resemblance, "meaning" in plain and bold; The visual tension shown by the auspicious figure of the stone relief of the Han Dynasty in Nanyang is the same as the beauty of the magnificent man. It is manifested in the simple beauty of the concise figure, the beauty of the rhythm of the moving figure, and the singular beauty of the exaggerated figure. The idyllic beauty of Stone Flower. Today, we attach importance to the Xiangrui figure art of Nanyang Han Dynasty stone portrait, which is helpful for us to have a deeper understanding and grasp of the artistic value and cultural value of the stone Xiangrui figure of Nanyang Han Dynasty. Help us to explore the traditional art and modern design of the "common, blend, advance together."
【学位授予单位】：中原工学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K879.4
【参考文献】
相关博士学位论文 前1条
1 刘宗超;汉代造型艺术及其精神[D];东南大学;2005年
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