《鸟毛立女屏风》与中日美术的关联性研究

发布时间：2018-04-24 04:26

本文选题：鸟毛立女屏风 + 树下美人　；参考：《西安美术学院》2013年博士论文

【摘要】：本文试图通过《鸟毛立女屏风》这一典型案例，对中日美术之间的关联性展开比较研究。日本遣唐使开辟的“海上丝绸之路”联结了中日的早期文化，正仓院藏《鸟毛立女屏风》即是这一时期文化背景下的珍贵遗物。这件屏风自1693年在尘封多年后被重新发现以来，一直是日本学术界的关注重点。昭和时期（1982—1984年），日本学者根据其材质特征，认定这件屏风属本地工匠制作的日本美术作品。然而，随着近年来中国大量考古实物的出土,上述结论的可靠性也越来越令人质疑。本论文试图借用艺术考古的新证据，从屏风遗存的“被修复”现状和屏风背后补纸的“非计划性”等问题点出发，从文化源起的角度，对《鸟毛立女屏风》的图像进行重新解读与分析。面对日本天平时期（729——781）零散的绘画遗存,不能不令人把《鸟毛立女屏风》放入到中国庞大的绘画“程式”系统中去进行分析与比较。首先，通过探讨“树下”题材在中国发生与流变的复杂过程，《鸟毛立女屏风》画面中树下仕女的形象，应该从属于当时在中国广为流传的“树下美人”范式；其笔墨与造型语言也符合当时的绘画规范。画面的艺术感染力，绘画性强于制作性；其美人图式对后来日本绘画中的“美人”形态产生了深远影响。其次，参照唐代壁画、石刻等遗存实例，本文对岛田修二郎提出的羽毛贴敷痕迹提出质疑，认为《鸟毛立女屏风》表面的划痕为画师的起稿痕迹，并非为切割羽毛所致，从而为探讨这件屏风的艺术属性，从制作技艺的角度，提出了除却其“工艺性”，“半工艺性”之外，还应属于一种“‘绘画’与‘工艺’的‘组合体’”——其绘画可能为唐土画师所作之“白画”，而其贴羽则由日本工匠所为。最后，本文对中日之间关于绘画动机的差异性进行了探讨。《鸟毛立女屏风》的样式发生于中国的文化土壤，，与唐期文化有着深刻的渊源关系。是唐代“绘画程式”具体表现者。《鸟毛立女屏风》的制作程式对后来日本画的形制、题材、绘画程式等具有深远影响。它的若干特征已显示出，中日美术在“抒发”“制作”等与审美属性密切相关的技艺范畴已开始出现分化，并引发出与“写”与“画”；“工”与“匠”等语义相对应的不同审美价值取向与美术形态。
[Abstract]:This paper attempts to carry out a comparative study of the relationship between Chinese and Japanese fine arts through the typical case of Bird hair woman screen. The "Maritime Silk Road" pioneered by the Japanese envoy of the Tang Dynasty connected the early cultures of China and Japan, and the collection of "Bird Mao Liv screen" in Zhengcanyuan was a precious relic under the cultural background of this period. The screen has been the focus of academic attention in Japan since it was rediscovered in 1693 after years of dust sequestration. Japanese scholars identified the screen as a Japanese art work made by a local craftsman according to its material characteristics during the period of Zhaohe (1982-1984). However, with the unearthed archaeological objects in China in recent years, the reliability of these conclusions is becoming more and more questionable. This paper tries to borrow the new evidence of art archeology, from the point of view of cultural origin, from the point of view of the "repaired" status of screen remains and the "unplanned" problem of mending paper behind the screen. This paper reinterprets and analyzes the image of Bird hair Girl screen. In the face of the scattered remains of Japanese paintings during the balance period, it is necessary to put "Bird hair Liv screen" into the "program" system of Chinese painting for analysis and comparison. First of all, by discussing the complex process of the occurrence and evolution of the subject matter of "under the Tree" in China, the image of the lady under the tree in the screen of "Birds under the Tree" screen should be subordinate to the "beauty under the tree" paradigm which was widely spread in China at that time. Its pen and ink and modeling language also accord with the painting norms at that time. The artistic appeal of painting is stronger than that of making, and its beauty schema has a profound influence on the form of beauty in later Japanese painting. Secondly, referring to the remains of the murals and stone carvings of the Tang Dynasty, this paper questions the trace of plume affixing put forward by Ishida Xiujiro, and thinks that the scratches on the surface of "Bird hair Girl screen" are the starting marks of the painters, not the result of the cutting of feathers. In order to discuss the artistic properties of this screen, from the point of view of production technology, the author puts forward that, besides its "craftsmanship" and "semi-craftsmanship", It should also be a 'combination of painting' and 'craftsmanship'-the painting may be made by a native painter of the Tang Dynasty, while the plume is made by a Japanese craftsman. Finally, this paper discusses the differences between Chinese and Japanese painting motives. The style of "Bird Mao Li-nu screen" occurs in the Chinese cultural soil and has a profound relationship with the Tang culture. It is the concrete expression of "painting program" in Tang Dynasty. The making procedure of "Bird Mao Li-nu screen" has a profound influence on the form, subject matter and painting pattern of later Japanese painting. Some of its features have shown that Chinese and Japanese fine arts have begun to differentiate in the technical categories closely related to aesthetic attributes, such as "expressing" and "making", which has led to "writing" and "painting". Different aesthetic value orientations and art forms corresponding to the semantics of "Gong" and "Smith".
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209

【参考文献】