试论明代人物画的艺术特色

发布时间：2018-03-20 21:53

本文选题：明代人物画　切入点：工笔人物画　出处：《吉林大学》2017年硕士论文　论文类型：学位论文

【摘要】：明代人物画虽然不如同时期的山水、花鸟画繁盛,但是在长久的发展中,依旧积累了大量的宝贵财富和经验,对现代人物画的创作和发展有一定的借鉴意义。绘画的发展,与所处时代的社会环境有着密切的联系,尤其是被统治阶级所重视的人物画。明朝的盛衰与明代人物画发展变化的三个阶段基本相互对应。通过研究每个阶段的特点,寻找它们的共性,从而得出结论,即明代人物画的艺术特色。明代早期的宫廷人物画显示出鲜明的御用美术性质,这点比往代要表现的更为强烈,并流露出较多的民间美术特色;“浙派”的人物画具有浓郁的生活气息,画风工细严谨的同时又有奔放刚硬的气质;明代中期的人物画家大多受到文人画的影响,画风既有“院体”的工整严谨,又融入了文人画的笔墨意趣,呈现一种相融合的风格;晚明之时的人物画风格呈现出变形和写实的两极化倾向,前者以丁云鹏和吴彬的道释画还有“南陈北崔”的变形画风为主,后者以曾鲸及其“波臣派”的写实肖像画为主。总的来说,明代人物画从形式上看,每个时期的人物画都呈现出不同的风格特色,但在内容上,呈现出两个特点,第一个特点就是人物画呈现出山水人物画的倾向,许多人物画中的背景所占比重相较往朝的人物画来说要大很多,但又不同于一般山水画中的点景人物,人物刻画较为细致,有人物画的特征。第二个特点可以用一个“俗”字概括,这个“俗”并不是低俗,而是民俗、通俗更是世俗,是一种生活化、平民化的审美取向。明代人物画虽呈现出衰落的态势,但它在中国人物画史中起到承上启下的重要作用,对清代人物画的发展有着重要影响,对今人也有一定的借鉴意义。
[Abstract]:Figure painting of the Ming Dynasty as the same period of the landscape, flower and bird painting flourished, but in the long term development, still has accumulated precious wealth and experience, have certain reference significance to the creation and development of modern painting. The development of painting is closely related to the era of social environment, especially the ruling class was valued by the painting. The three stages of the Ming Dynasty and the Ming Dynasty and the development and change of the basic figures correspond to each other. By studying the characteristics of each stage, to find their similarities, thus draws the conclusion, namely the figure painting of the Ming Dynasty painting art characteristics. In the early Ming Dynasty imperial court figure shows distinctive nature of art this, than to the generation to the performance of the more intense, and showed more folk art features; "zhe" painting with rich flavor of life, works fine style and rigorous Ben put rigid gas Quality; in the middle of Ming Dynasty painter mostly affected the literati painting style, both "the courtyard body" neat rigorous and into the literati paintings charm, showing a combination of style; the late Ming Dynasty when the painting style emerged and realistic deformation of polarization, deformation style of the former Ding Yunpeng Wu Bin and Taoism painting and the "South North Cui Chen", the latter by Zengjing and "bochen school" realistic portraits. In general, figure painting of the Ming Dynasty from the perspective of the form, each period of the painting shows different style, but in content, showing two features, the first feature is showing a tendency to figure painting landscape painting, figure painting in the background for many compared to the proportion in figure painting should be large, but different from the general landscape point of view characters, characters depicted in detail, Figure painting characteristics. The second characteristics can be summed up with a "vulgar", the "vulgar" is not vulgar, but folk, popular is secular, is a kind of life, the aesthetic orientation of civilian figure painting of the Ming Dynasty. Although showing a decline trend, but it is in the Chinese figure painting play an important role, has an important influence on the development of the Qing Dynasty painting, and also has certain reference significance for us.

【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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