石家庄市毗卢寺西汉石雕人像艺术研究

发布时间：2019-01-21 20:06

【摘要】： 汉代是中国封建社会发展的第一个高峰,政治、经济的高度发达,促进了艺术的繁荣。在这样一个强盛的时代,汉代的艺术也表现出一种开张、雄浑、博大的强势文化,尤其是雕塑艺术更加直接地体现了这种美感。本文研究的对象就是距离我们两千多年前的一对汉代雕塑作品,这对雕塑就收藏在我们石家庄市郊的毗卢寺内,对于我来说是难得的近距离研究汉代雕塑的机会,使我能够结合自身感受和历史资料的分析总结出自己对于这对雕塑的认识以及对于汉代雕塑的整体认识。毗卢寺内的这对雕塑是一对大型裸体石人,也称为石翁仲,“石翁仲”是秦汉以后对陵墓前石人的称呼。本文以层层递进的方式,从石翁仲的出土情况、保存现状、用途分析等几个方面进行叙述,从而进一步分析毗卢寺石翁仲的艺术特征,结合同时期的雕塑作品总结出石翁仲所具有的装饰美感、体量感、以线造型的艺术特点和精炼的雕刻语言。以及由此而展现出的整个时代雕塑的美学意趣。雕塑艺术的魅力是永恒的,这种永恒性始终是在雕塑艺术本体语言拓展与限定中循环往复发展的,汉代的文化艺术在主题性格方面极有魄力地表现了人对客观世界的征服。雕塑作品在汉代尤其注重的是写意的表达,注重深层的思考。而非科学非真实的形态,因而形成了艺术表现中的抒情写意、意象造型。在简洁写意的基本形体上,进行深度表现与创造,使其更具有诗意和表现力。中国雕塑的创作过程大大有别于西方雕塑,人们没有精确的比例概念,没有形式逻辑的限制,一种任意性很大的形象思维起着主导的作用,依靠自己的情感意愿裁定物象、表现物象,使之蕴含着需经过时间转换的超越直观视觉以外的内容。如此创作出的雕塑作品和西方雕塑注重写实的风格截然不同。同时,汉代的浪漫主义的运用为抒情写意拓展了更加广阔的更加自由的想象空间。由此可见,汉代艺术因中国人的生活方式、思维模式、情感表白的差异,审美情趣的偏好,而具有了浓烈的浪漫主义色彩。本文结合雕塑本身具有的原始语言和古拙造型的特点,总结了汉代雕塑的原始古拙美。
[Abstract]:Han Dynasty was the first peak of the development of feudal society in China. The high development of politics and economy promoted the prosperity of art. In such a strong era, Han Dynasty's art also showed a strong culture, especially sculpture art more directly reflected this sense of beauty. The object of this study is a pair of Han Dynasty sculptures more than 2,000 years ago. This pair of sculptures are collected in the Lilu Temple on the outskirts of Shijiazhuang, which is a rare opportunity for me to study Han Dynasty sculptures at close range. So that I can combine their own feelings and historical data analysis to sum up their understanding of the sculpture and the overall understanding of the Han Dynasty sculpture. This pair of sculptures are a large pair of nude stone people, also known as Shi Wengzhong, who was called Shi in front of the mausoleum after Qin and Han dynasties. In this paper, the unearthed situation of Shi Wengzhong, the present situation of preservation, and the analysis of its use are described in a progressive way, so as to further analyze the artistic characteristics of Shi Weng Zhong in the Pilu Temple. Combined with the sculpture works of the same period, the author summarizes Shi Wengzhong's decorative beauty and body weight, the artistic characteristics of line modeling and the refined carving language. And the aesthetic interest of sculpture in the whole era. The charm of sculpture art is eternal, and this permanence has always developed in the development and limitation of sculpture art. The culture and art of Han Dynasty have shown the conquest of the objective world in the aspect of subject character. Sculpture works in the Han Dynasty pay particular attention to the expression of freehand brushwork, pay attention to deep thinking. Instead of being scientific and unreal, it forms lyrical freehand brushwork and image modeling in artistic expression. On the basic form of succinct freehand brushwork, deep expression and creation are carried out to make it more poetic and expressive. The creative process of Chinese sculpture is greatly different from that of western sculpture. People have no precise concept of proportion, no restrictions on formal logic, and a kind of arbitrary image-thinking plays a leading role, relying on their own emotional will to adjudicate objects. Performance of the object, so that it contains the need for time conversion beyond the visual beyond the content. The sculptural works created in this way are very different from the realistic style of western sculptures. At the same time, the use of romanticism in the Han Dynasty expanded a broader and freer imagination space for lyrical freehand brushwork. Thus it can be seen that the Han Dynasty art has a strong romantic color because of the difference of Chinese way of life, mode of thinking, the difference of emotional expression, and the preference of aesthetic taste. Combined with the original language of sculpture and the characteristics of ancient clumsy modeling, this paper summarizes the primitive beauty of Han Dynasty sculpture.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J305

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