景德镇釉上人物画与南昌瓷板画的关系研究

发布时间：2018-03-22 14:21

本文选题：景德镇釉上人物画　切入点：南昌瓷板画　出处：《江西科技师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：江西地域文化有着悠久而灿烂的历史，其中，南昌瓷板画就是杰出的文化代表符号之一。以手工艺制品形式存在的南昌瓷板画，具有观赏性、纪念性及商品流通性，蕴含深厚的中华传统人文精神，所宣扬的仁义礼智信、温良恭俭让、尊老爱幼孝亲等等美德风尚，至今具有移风易俗、升华伦理关系的教化力量和普世价值。在当下消费文化日益膨胀的时代，传统瓷板画的固有实用功能和精神价值在逐渐式微，比如作为生活必需品的市场需求、作为敬宗祭祖的纪念品的符号功能等等，都在逐渐剥离。随之，作为商品流通的刚性需求急剧减少。因而，瓷板画的地位在当代生活中也在边缘化、非主流化。然而，南昌瓷板画作为非物质传统文化遗产，其精神文化价值、地域文化身份、独特的审美意蕴仍然是世界审美文化的重要组成部分，作为优秀的人类文化符号，其保存与传承的价值是毋庸置疑的。如何发掘南昌瓷板画的精神文化价值、艺术审美特征等等，是时代提出的课题。本论文正是以此为出发点，探析南昌瓷板画的艺术渊源，对它的文化艺术身份进行深度挖掘。本文分别对景德镇釉上人物画领域、南昌瓷板画领域进行具体的阐述，包括产生原因、代表人物、发展过程、艺术特征等内容。并以此为依据来对景德镇、南昌两个区域的瓷上绘画人物领域进行比较研究，文章重点是对于二者关系的研究。运用对比研究的手法，，研究二者的继承性、同一性、差异性。主要从艺术表现层面来分析，包括题材、造型、色彩、构图、技法等方面。通过这些方面的比较分析得到二者的异同。如先期题材南昌继承自景德镇，后期发展中有过相同的题材如伟人像，在此基础上南昌还绘制名人、明星像、命题性创作等；造型方面先期继承自景德镇，景德镇开创时期造型不是完全基于解剖学，明显具有中国画的眉眼、胡须的表现手法。将瓷上肖像画传入南昌的梁兑石具有西画功底，造型更加严谨、注重结构的准确表达，而不是神韵的刻画，与景德镇明显不同，这是两者的差异性等。在这些研究中以时间为线，以艺术表现为面，以具体作品为点，点、线、面紧密联系、相互贯穿进行全面的比较分析。
[Abstract]:The regional culture of Jiangxi has a long and glorious history, the Nanchang porcelain painting is an outstanding cultural symbol. Exists in the form of handicrafts of Nanchang porcelain painting, ornamental, memorial and the circulation of commodities, the profound Chinese traditional humanistic spirit advocated by the Renyilizhi letter, gentle, modest and courteous, zunlaoaiyou filial piety has virtues such as fashion, refinement, sublimation of the ethical relationship between educational power and universal values. In the current expanding consumption culture era, the traditional natural functional and spiritual value in a gradual decline, such as the necessities of the market demand, as a symbol of honor and worship their ancestors function souvenirs and so on, are gradually stripped. Subsequently, the rigid demand as commodity circulation decreased sharply. Therefore, the position in the contemporary life in the edge, non mainstream. However, Nanchang porcelain painting as a traditional intangible cultural heritage and its spiritual and cultural values, cultural identity, unique aesthetic connotation is still an important part of world culture, as the outstanding human culture symbol, the preservation of heritage value is beyond doubt. How to explore the cultural value of Nanchang spirit, aesthetic characteristics wait, is the era of research. This thesis is based on this starting point, the origin of Nanchang porcelain painting art, its cultural and artistic identity of the depth of excavation.
This paper on the Jingdezhen glaze painting field, Nanchang porcelain painting field in detail, including the reasons, representative, development process, artistic features and so on. And on the basis of Jingdezhen, Nanchang two areas of porcelain painting figures in a comparative study, this paper is to study the relationship between the two. By using the comparative study method, study on inheritance of the two, the same, the main difference. From the level of artistic expression analysis, including the theme, style, color, composition, technique and so on. Through the comparative analysis of these aspects are the similarities and differences between the two. As the theme of Nanchang inherited from Jingdezhen early, late development have the same theme as the great man, on the basis of Nanchang also draw celebrities, stars like, propositional creation; other early inherited from Jingdezhen, Jingdezhen to create a period of modelling is not completely based In anatomy, with obvious China painted facial features, beard expression. The porcelain portrait painting was introduced into Nanchang Duishi beam with Western painting skills, style is more rigorous, pay more attention to the exact expression of the structure, rather than spirit characterizations are obviously different from Jingdezhen, this is the difference between the two. In these studies in time for the line, with artistic expression for the face, to the specific work as point, point, line, surface contact each other through a comprehensive comparative analysis.

【学位授予单位】：江西科技师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205

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