当前位置:主页 > 文艺论文 > 绘画论文 >

从“宣和装”看宋元宫廷绘画的装裱变化

发布时间:2018-04-25 12:17

  本文选题:宋元 + 宫廷绘画 ; 参考:《中国艺术研究院》2017年硕士论文


【摘要】:装裱是书画作品中不可或缺的一步重要环节,是对书画作品审美的延伸。自长沙马王堆出土《人物御龙图》是迄今最早的帛画装裱形式,已然可以证明,早在两千多年前的战国,就已经注重绘画的审美与保存。东汉以前,尚无造纸,绘画多在丝、帛、棉麻等材质上完成的。从《人物御龙图》与西汉墓葬出土的T型帛画,都可见绘画的装裱。古人对装裱是有多种称谓的,有装潢,裱褙,装池等名称,但无论名称有多少,其目的都只有一个,就是对书画作品的装饰与保存。从战国至隋唐以前,绘画装裱的工艺不断发展,但由于生活时代的材料所限,进展相对缓慢,直到隋唐,社会经济空前繁荣,社会生活也大有改善,因此,可用于绘画及装裱的材料种类繁多。时至宋元,无论是绘画水平,亦或是装裱水平,都达到顶峰,此间“宣和装”的出现,将北宋的宫廷绘画的装裱样式予以固定,并对元以后的宫廷绘画的装裱影响颇深。
[Abstract]:Mounting is an indispensable step in calligraphy and painting works, is an extension of painting and calligraphy aesthetic. Since the figure Yulong Pictures unearthed in Mawangdui, Changsha, is the earliest form of mounting silk paintings, it can already be proved that, as early as 2000 years ago in the warring States period, attention has been paid to the aesthetic and preservation of painting. Before the Eastern Han Dynasty, there was no paper, painting in silk, silk, cotton and hemp and other materials completed. The mounting of paintings can be seen from the figures of Imperial Dragon and T-type silk paintings unearthed from the tombs of the Western Han Dynasty. The ancients had a variety of appellations for mounting, such as decoration, mounting, packing pool, etc. But no matter how many names there were, there was only one purpose, that is, the decoration and preservation of calligraphy and painting works. From the warring States period to the Sui and Tang dynasties, the process of painting mounting developed continuously, but the progress was relatively slow due to the material limitations of the life era. Until the Sui and Tang dynasties, the social economy was unprecedented prosperous and social life was greatly improved. There are a wide variety of materials available for painting and mounting. From the time to the Song and Yuan dynasties, both the painting level and the mounting level reached the peak. The appearance of Xuan he Feng here fixed the mounting style of the court painting of the Northern Song Dynasty, and had a deep influence on the mounting style of the court painting after the Yuan Dynasty.
【学位授予单位】:中国艺术研究院
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:J211.7

【参考文献】

相关期刊论文 前6条

1 牛克诚;;绍兴御府印的形态学研究[J];故宫博物院院刊;2016年04期

2 韩刚;;北宋翰林图画院外宫廷画家制度及画史地位考略[J];美术研究;2011年02期

3 何榕;;浅析徽宗朝院画使用脉络[J];数位时尚(新视觉艺术);2010年01期

4 牛克诚;宣和御府印格式研究[J];故宫博物院院刊;2005年01期

5 夏冬波 ,安徽;论“宣和装”的贡献及其局限[J];包装世界;1997年02期

6 万董强;浅谈古代书画装裱技艺及“宣和式”装裱[J];东南文化;1996年04期

相关会议论文 前1条

1 顾平;;中国宫廷画院历史沿革考略——元明清[A];大匠之门 2[C];2014年

相关重要报纸文章 前3条

1 ;中国书画装裱的起源与发展[N];中国文物报;2008年

2 谢稚柳;;论书画鉴别(下)[N];美术报;2003年

3 任青云;;书画装裱小史[N];中国老年报;2000年

相关博士学位论文 前2条

1 张平;书画装裱研究[D];苏州大学;2009年

2 韩刚;北宋翰林图画院制度渊源考论[D];中央美术学院;2007年

相关硕士学位论文 前1条

1 牛继飞;元代宫廷绘画机构研究[D];首都师范大学;2006年



本文编号:1801274

资料下载
论文发表

本文链接:https://www.wllwen.com/wenyilunwen/huihuayishu/1801274.html


Copyright(c)文论论文网All Rights Reserved | 网站地图 |

版权申明:资料由用户fc478***提供,本站仅收录摘要或目录,作者需要删除请E-mail邮箱bigeng88@qq.com