盛唐时期山水屏风画研究

发布时间：2018-04-15 16:33

本文选题：盛唐 + 山水屏风画　；参考：《河北大学》2017年硕士论文

【摘要】：盛唐时期,屏风画成为被广泛应用的壁画形式,各式各样绘画题材的屏风画使盛唐成为中国画史中最为独特的发展节点。在较为流行的山水、花鸟、人物等题材的屏风画中,山水屏风画在盛唐时期的突破性发展最为显著。本文将处于盛唐前期的懿德太子墓与章怀太子墓、节愍太子墓与惠庄太子墓中壁上的山水屏风画与盛唐后期的朱家道村墓中的六扇山水屏风画、日本正仓院中现存的盛唐时期山水屏风画联系起来进行深入的考察,并以历史文献的记载及考古资料,试图从宏观的维度探究盛唐时期山水屏风画兴起的美学背景、绘画技法,以促进现代山水屏风画、屏风家具及文化强国建设的发展具有重要的现实价值及意义。全文共分为五个章节:第一章,绪论。本章阐述了文化强国背景下研究盛唐时期山水屏风画的背景、目的、意义、方法、创新点、国内外研究现状。第二章,唐代屏风画的分期演进。本章将唐代屏风画的发展分为:唐高祖至唐高宗时期画风的传承与锐变、武则天至睿宗时期山水屏风画初现盛唐之象、唐玄宗时期出现山水屏风画之盛世经典、唐肃宗至唐末山水屏风画风的延续与渐变四个时期,界定盛唐时期山水屏风画发展的时间跨度。第三章,盛唐时期山水屏风画的发展现状。本章对盛唐时期山水屏风画兴起的美学背景、主流画家及其风格、载体的发展现状进行了探析,为深入研究盛唐时期山水屏风画奠基。第四章,盛唐时期太子墓及朱家道村墓中山水屏风画探究。本章对懿德太子墓与章怀太子墓壁上山水屏风画特征研究、节愍太子墓与惠庄太子墓中的山水屏风画特征的研究及朱家道村墓中棺床上的六扇山水屏风画的情况介绍、特征分析、盛唐室内家具映射的研究是本文研究的重点。第五章,研究盛唐时期山水屏风画的现代价值与意义。本章阐述了研究盛唐山水屏风画在促进现代水墨山水画的发展、开阔现代家具发展的视野、促进社会主义文化强国建设三个方面的价值与意义。本文在研究盛唐时期山水屏风画的过程中,运用了文献研究法、历史研究法、比较研究法,以研究的逻辑结构,得出壁上山水屏风画是盛唐时期一种时尚的绘画形式,盛唐时期是山水屏风画发展的关键期,是山水画渐变的重要时期。盛唐时期山水屏风画在敷色、晕染、勾勒、构图、泼墨、扫染等绘画技法上的成就。盛唐时期的山水屏风画在绘画技法上达到了“画工细腻而刚硬,构图意蕴深远、敷色浓淡适宜,线描与勾勒灵动自然、墨笔灵动而清润”的水平。这些研究成果对现代水墨山水画的发展、现代家具的发展及社会主义文化强国建设具有现实的价值与意义。
[Abstract]:In the prosperous Tang Dynasty, screen painting became a widely used mural form, and the screen paintings of various painting subjects made it the most unique development node in the history of Chinese painting.Among the popular screen paintings of landscape, flowers and birds and figures, the breakthrough development of landscape screen paintings in the prosperous Tang Dynasty was the most remarkable.This article will be located in the early Tang Dynasty, the tomb of Prince Yide and the tomb of Prince Zhang Huai, the paintings of landscape screen in the walls of the Tomb of Prince Min and the Tomb of Huizhuang Prince, and the paintings of six mountain and water screens in the tomb of Zhujia Road Village in the late Tang Dynasty.The extant landscape screen paintings of the prosperous Tang Dynasty in Japan are deeply investigated, and with the records of historical documents and archaeological materials, this paper attempts to explore the aesthetic background and painting techniques of the rise of landscape screen paintings in the prosperous Tang Dynasty from a macro perspective.It has important practical value and significance to promote the development of modern landscape screen painting, screen furniture and cultural power construction.The full text is divided into five chapters: chapter one, introduction.This chapter expounds the background, purpose, significance, method, innovation point of the research on landscape screen painting in the prosperous Tang Dynasty under the background of cultural power.The second chapter, the stage evolution of screen painting in Tang Dynasty.This chapter divides the development of screen painting in Tang Dynasty into three parts: the inheritance and sharp change of painting style from Tang Gaozu to Gaozong period of Tang Dynasty, the appearance of the image of the Tang Dynasty in the landscape screen painting from Wu Zetian to Wizong period, and the classic of the flourishing period of landscape screen painting in the period of Tang Xuanzong.The continuation and gradual change of landscape screen painting from Tang Dynasty to the end of Tang Dynasty, defining the time span of the development of landscape screen painting in the high Tang Dynasty.The third chapter, the development status of landscape screen painting in the prosperous Tang Dynasty.This chapter analyzes the aesthetic background of the rise of landscape screen painting in the prosperous Tang Dynasty, the mainstream painter and its style, and the development status of the carrier, laying the foundation for the in-depth study of the landscape screen painting in the prosperous Tang Dynasty.The fourth chapter explores the landscape screen paintings in the tomb of Prince Prince and Zhujiadao Village in the prosperous Tang Dynasty.In this chapter, the characteristics of landscape screen paintings on the walls of Prince Yide's Tomb and Prince Zhang Huai's Tomb, the characteristics of landscape screen paintings in the Tomb of Prince min and the tomb of Prince Huizhuang, and the pictures of six mountain and water screens on the coffin bed in the tomb of Zhujiadao Village are introduced in this chapter.Characteristic analysis, the research of interior furniture mapping in prosperous Tang Dynasty is the focal point of this paper.The fifth chapter studies the modern value and significance of landscape screen painting in the prosperous Tang Dynasty.This chapter expounds the value and significance of studying the landscape screen painting in the prosperous Tang Dynasty in three aspects: promoting the development of modern ink landscape painting, broadening the vision of the development of modern furniture, and promoting the construction of socialist cultural power.In the course of studying the landscape screen painting in the prosperous Tang Dynasty, this paper applies the methods of literature research, historical research and comparative study to study the logical structure of the study, and draws a conclusion that the wall landscape screen painting is a fashionable painting form in the prosperous Tang Dynasty.The period of Tang Dynasty is the key period of the development of landscape screen painting and the important period of gradual change of landscape painting.The achievements of landscape screen painting in painting techniques such as application, dizziness, sketch, composition, ink splashing, sweeping and dyeing.In the high Tang Dynasty, the landscape screen painting reached the level of exquisite and rigid painting technique, profound composition meaning, suitable color application, line drawing and sketching natural, ink brushwork smart and clear and moist.These research results have realistic value and significance for the development of modern ink and landscape painting, the development of modern furniture and the construction of socialist cultural power.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

【参考文献】