从明清肖像看中国画人物造型观的转变

发布时间：2018-04-17 21:14

本文选题：肖像画 + 传神　；参考：《沈阳师范大学》2013年硕士论文

【摘要】：自远古时代，中国就已经出现人物画，至唐宋时期达到一个鼎盛时代。但宋以后由于文人画的兴起和发展，人物画科渐渐被轻视。这其中的主要原因是由于文人士大夫的轻视，而大部分的美术史都是由文人士大夫所撰写，所以人物画的地位被贬低。其实这种观点是不对的。纵观西方美术史，肖像人物画一直是绘画发展的主流，所以有了伦勃朗等艺术大师。在中国其实也一样，唐朝时期肖像人物画是每一位画家的必修科目，所以在唐朝人物画的发展最为辉煌，而且也有了吴道子、阎立本等人物画大师，为我国人物画发展做出了巨大的贡献。宋以后由于中国特定的历史发展原因，导致了人物画的发展受到了一定的制约，也使肖像人物画的没有得到正确的重视，这一现象直到我们生活的当下仍然有着它的余温。比如在我国一些地区，仍然存在一些旧观点，就是中国画的人物画不及西方的人物画生动、写实；学习中国画人物画不如学习山水花鸟等等。但是笔者认为，中国画人物画有其独特的造型特点，有栩栩如生的写实造型，也有浪漫感性的夸张的变形造型。他们对中国画人物画的发展起到了巨大的推动作用。本文之所以选择明清时期的肖像画作为研究对象原因有三：第一，，唐宋时期的人物画本身就在美术史上有了至高无上的地位，这些传世作品的历史和绘画的重要价值已没有任何歧义，得到了大众的认可，而明清时期的却不同——当时文人画占据绘画发展的主流地位，肖像人物画的发展空间本就十分有限，在这种情况下得以发展已属不易，却没有得到应有的价值确认；第二，由于明清时期社会制度的变革，小商品经济的迅速发展，在这种社会背景下给肖像人物画带来了什么样的变化值得我们研究和考证；第三，国内现在研究明清肖像的专门论著不多，大部分都是字数不多的论文和博物馆记录，但是明清肖像的历史价值值得我们进行深入研究。基于以上几点原因，我选择了从明清肖像来观察研究中国画人物造型观发展到明清时期有了什么样的具体的变化。本文主要研究明清时期的肖像写真画与前朝相比发生了什么样的微妙变化，从而探索出明清人物造型特点的转变。另外，对于一些有争议的造型观点如曾鲸：曾鲸的人物画作品的争论有很多，大体上分为两派，一派说他是继承前朝的基础上进行了自己的创新，一派说他是受了西方壁画的影响，本文中笔者通过photoshop这一现代计算机作图软件对他的作品进行了特殊处理，从直观上论证出了曾鲸的作品还是传承前朝绘画技法稍多一些。另外通过书籍的查阅和材料的搜集，集中了一大批有用的文献材料进行对比分析研究，总结出了明清人物造型向写实传神和夸张变形两个方向发展的特点。
[Abstract]:Since ancient times, China has appeared figure painting, to the Tang and Song dynasties reached a peak.But after Song Dynasty, because of the rise and development of literati painting, the subject of figure painting was gradually despised.The main reason is the contempt of literati and officials, and the majority of art history is written by literati and officials, so the status of figure painting is devalued.In fact, this view is wrong.Throughout the history of Western art, portrait figure painting has been the mainstream of painting development, so Rembrandt and other art masters.In fact, in China, portrait portrait painting was a compulsory subject for every painter in the Tang Dynasty, so the development of figure painting in the Tang Dynasty was the most brilliant, and there were also masters of figure painting such as Wu Dao-zi, Yan Liben, etc.It has made great contribution to the development of Chinese figure painting.Since the Song Dynasty, the development of figure painting has been restricted because of the specific historical development of China, and the portrait figure painting has not been given the correct attention. This phenomenon still has its residual temperature until the present moment of our life.For example, in some areas of our country, there are still some old views, that is, the figure painting in Chinese painting is not as vivid and realistic as the figure painting in the West; the study of figure painting in Chinese painting is not as good as studying landscape flowers and birds, and so on.However, the author believes that Chinese figure painting has its unique modeling characteristics, lifelike realistic modeling, but also romantic and sensual exaggerated deformation modeling.They played a huge role in promoting the development of Chinese figure painting.There are three reasons why this article chose the portrait painting of the Ming and Qing dynasties as the object of study. First, the figure painting of the Tang and Song dynasties has a supreme position in the history of fine arts.The history of these works and the important value of painting are no longer ambiguous, have been recognized by the public, but different in the Ming and Qing dynasties, when literati painting occupied the mainstream position in the development of painting,The development space of portrait figure painting is very limited, under such circumstances, it is not easy to develop, but it has not been confirmed by its due value. Second, because of the social system change during the Ming and Qing dynasties, the rapid development of small commodity economy.Under this social background, what kind of changes have been brought to portrait portraits is worthy of our study and textual research. Third, there are not many articles devoted to the study of portraits in the Ming and Qing dynasties in China, most of which are articles and museum records with few words.However, the historical value of the Ming and Qing dynasties portraits is worth our in-depth study.Based on the above reasons, I choose from the Ming and Qing portraits to observe the development of Chinese painting figure modeling view to the Ming and Qing dynasties what kind of specific changes.This article mainly studies what kind of subtle changes have taken place in the portrait portrait of the Ming and Qing dynasties compared with the previous period, thus exploring the transformation of the characters' modeling characteristics of the Ming and Qing dynasties.In addition, there are many arguments about some controversial styling views such as Zeng whale: Zeng whale's portrait painting works, which are generally divided into two factions. One faction says that he carried out his own innovation on the basis of inheriting the previous dynasty.One school said that he was influenced by western murals. In this paper, the author made a special treatment on his works through photoshop, a modern computer graphics software, and demonstrated intuitively that the works of Zeng whale or the inheritance of painting techniques of the previous dynasties were a little more.In addition, through the reference of books and the collection of materials, a large number of useful literature materials are collected for comparative analysis and research, and the characteristics of the development of characters' modeling in the Ming and Qing dynasties towards realistic and exaggerated deformation are summarized.
【学位授予单位】：沈阳师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】