唐代及其前期人物绘画的本体理论研究

发布时间：2018-03-03 19:25

  本文选题：人物绘画　切入点：本体理论　出处：《南京师范大学》2015年博士论文　论文类型：学位论文

【摘要】：唐代及其前期人物绘画的本体理论主要是指这一时期基于人物绘画的审美心性和生命体征而生成的切入艺术本体的认识论和方法论。因为唐代及其前期是中国古典人物绘画的建构时期,这一阶段人们的认识论和审美论多生发于对人的生命性、宇宙性及本体性的阐释和思考,其目的是希望把人的审美心性与宇宙的天性、神性以及自然属性融为一体,这种观念构成了古代早期人物绘画的本体价值。本文通过理论考释与实践论证的研究方式,试图对这些本体理论进行梳理、总结、完善和补遗,其与美术史注重历史线索的研究方式有所区别。从古代的画史和画论来看,唐代及其前期的人物绘画理论多是基于一定社会的审美思辨而形成的本体性认识,如“道”、 “气”、“象”、“形”、“神”、“玄”、“虚”、“妙”、“逸”等,这些范畴在唐及先唐的不同时期构成了人物绘画的神性论、审美论、命题论、评鉴创作论和方法论等,这些理论多是抛开了人物绘画的记事性、技法性甚至功能性而直接切入艺术的审美本源和价值本体,围绕着宇宙、天人、气韵、心源等万物的本体属性而展开的认识,其也多成为唐代以后绘画艺术的祖法、祖论和祖格。神性价值论是基于原始艺术中的“万物有灵论”和“神性崇拜”而提出的,其构成了人物绘画的观念之源,其所给予的信仰归属和灵魂依附也是我们现代人无法完全感知的,但其作为开蒙之论,对后世的影响却不言而喻。先秦时期,《周礼》思想对人物绘画影响甚广,到了两汉,道家、儒家思想成为人物绘画的价值依托,尤其是“道”的本体论也成为艺术的本体所在,由“道”所生发的形神论与元气论成为汉代人物绘画的观念主构。魏晋南北朝时期,出现了完整意义上的人物画论,其在评鉴论、创作论以及命题论上为人物画创作指明了途径。唐代是中国早期人物绘画的辉煌时期,其延续六朝余脉,在人物绘画创作、评鉴以及审美等方面都构成了古代人物绘画理论的经典。这些认识、观念、思想多是跳出人物绘画的社会性、世俗性和技法特征来谈的,从本质意义上说都具有着艺术理论的本体价值。本论文立足于唐代及其前期人物绘画的本体理论研究,对人物绘画在这一时期不同阶段的审美形态与观念形态进行分析、考释、归纳和论述,并结合一定时代的绘画创作来对这些观念进行论证与总结,以期能对人物绘画的古典理论做一些深度的探赜与解读。
[Abstract]:The Noumenon Theory of the Tang Dynasty and its Prophase figure painting mainly refers to the epistemology and methodology of the artistic Noumenon based on the aesthetic heart and vital signs of the figure painting in this period, because the Tang Dynasty and its early period are ancient China. The period of construction of classical figure painting, In this stage, people's epistemology and aesthetic theory come from the interpretation and thinking of human's life, cosmos and Noumenon, the purpose of which is to combine the aesthetic mind of man with the nature, divinity and nature of the universe. This concept constitutes the Noumenon value of early ancient figure painting. This paper attempts to sort out, summarize, perfect and supplement these Noumenon theories by means of theoretical research and practical argumentation. From the view of ancient painting history and painting theory, most of the painting theories of Tang Dynasty and its early period are based on the aesthetic speculation of a certain society. For example, "Tao", "Qi", "Xiang", "form", "God", "metaphysics", "empty", "Miao", "Yi" and so on. These categories constituted the divinity theory, aesthetic theory, propositional theory, evaluation creation theory and methodology of character painting in different periods of Tang and pre-Tang dynasties. Most of these theories are the understanding of the Noumenon attributes of all things, such as universe, heaven and man, charm, heart, etc., which directly cut into the aesthetic origin and value ontology of art without putting aside the chronology, technique and even function of character painting. It also became the ancestor law of painting art after Tang Dynasty, and the theory of ancestor and Zug.Theological value theory was put forward on the basis of "animism of all things" and "worship of God" in primitive art, which constituted the source of the concept of character painting. The belief and soul attachment it gives us cannot be fully perceived by modern people, but its influence on later generations is self-evident. In the pre-Qin period, the thought of "Zhou Li" had a very wide influence on the painting of characters, until the Han Dynasty, Taoism, Confucianism has become the value of character painting, especially the ontology of "Tao" also become the Noumenon of art, from the "Tao" born from the theory of form and spirit and spirit theory become the main concept of the Han Dynasty. Wei, Jin, Southern and Northern dynasties, The theory of character painting in the whole sense has pointed out the way for the creation of figure painting in evaluation theory, creation theory and proposition theory. The Tang Dynasty was the glorious period of Chinese early figure painting, which continued the remaining veins of the six dynasties and created the figure painting. Evaluation and aesthetics constitute the classics of ancient character painting theory. Most of these cognition, ideas and thoughts are discussed out of the social, secular and technical characteristics of character painting. This thesis is based on the study of the Noumenon Theory of the Tang Dynasty and its early stage of character painting, and analyzes and explains the aesthetic and conceptual forms of the figure painting in different stages of this period. It is concluded and discussed, and combined with the painting of a certain period of time to demonstrate and summarize these concepts, in order to do some deep exploration and interpretation of the classical theory of character painting.
【学位授予单位】：南京师范大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：J212
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本文编号：1562364