六朝江南地区动物纹画像砖艺术特征与美学价值研究

发布时间：2018-06-17 16:56

本文选题：六朝 + 江南地区　；参考：《江南大学》2017年硕士论文

【摘要】：画像砖是用于古时墓室内壁上的一类花纹图像砖,从秦、汉初期直至六朝期间均有流行。六朝画像砖在汉代画像砖的基础上有了较大发展,开辟了以纯粹线条构图并塑造画面形象的新风尚,将画像砖艺术推向了鼎盛时期。从三国东吴到两晋再至南北朝,时代的进程也使得纹样呈现出与众不同的形态特点。六朝画像中的动物纹样不仅有其神秘古拙的造型之美,同时具有非常深厚的文化底蕴,反映了彼时的社会思想与文化思潮,更映射了六朝人的审美观、世界观和价值观。本文结合历史背景、宗教意识形态、文人审美观念以及社会文化风俗对六朝江南地区动物纹画像砖进行深入研究。首先从六朝江南地区画像砖的动物纹样入手,运用类型分析的方法对出土的动物纹样进行分类探讨,并选取其中代表性纹样进行时代分期特征论述,根据与国内同期其他地区出土的动物纹画像砖对比,得出江南地区动物纹样的地域性特征;对动物纹样有了基础了解之后,再从动物纹的造型艺术、构图方式、线条形式三个方面对六朝江南地区动物纹画像砖的艺术特征进行详细的分析与总结;通过原始宗教信仰、儒道佛三教对动物纹的影响,深入挖掘画像砖背后的内涵思想,归纳总结出其功能特征,包括情感功能、心理功能与社会功能,并结合经济、政治、文化三个角度探讨六朝江南地区动物纹画像砖的衰败原因;依据前期对思想内涵的研究,结合六朝审美观念,在纵向上对比汉代、宋代的美学特征,在横向上对比同源审美意识下的不同器物,最终总结出六朝江南地区动物纹画像砖的美学特征和美学价值。
[Abstract]:Portrait brick is a kind of patterned image brick used on the inner wall of tomb in ancient times, which was popular from Qin Dynasty, early Han Dynasty to six dynasties. On the basis of Han Dynasty portrait brick, the six dynasties portrait brick had a great development, opened up a new fashion of pure line composition and created the picture image, pushed the portrait brick art to the peak period. From the three Kingdoms to the two Jin dynasties and then to the Southern and Northern dynasties, the process of the times also made the patterns show distinctive morphological characteristics. The animal patterns in the portraits of the six dynasties not only have the beauty of their mysterious, ancient and clumsy shapes, but also have a very deep cultural background, reflecting the social thoughts and cultural thoughts of the time, and also reflecting the aesthetics, world outlook and values of the people of the six dynasties. Combined with historical background, religious ideology, literati aesthetic concept and social cultural customs, this paper makes an in-depth study of animal portraits in Jiangnan area of the six dynasties. First of all, from the animal pattern of the portrait brick in the south of the Yangtze River in the six dynasties, the author uses the method of type analysis to classify the animal pattern unearthed, and selects the representative pattern to discuss the characteristics of the times by stages. According to the comparison of animal patterns unearthed from other areas in the same period in China, the regional characteristics of animal patterns in the south of the Yangtze River are obtained. After having a basic understanding of animal patterns, we will start with the plastic arts and composition methods of animal patterns. From three aspects of line form, the author analyzes and summarizes in detail the artistic characteristics of the animal grain portrait brick in the south of the Yangtze River in the six dynasties. Through the original religious belief, the influence of Confucianism, Taoism and Buddhism on the animal grain, the connotation thought behind the portrait brick is deeply excavated. Summing up its functional characteristics, including emotional function, psychological function and social function, and combining economic, political and cultural perspectives to explore the reasons for the decline of animal portraits in the south of the Yangtze River in the six dynasties. Combining the aesthetic concept of the six dynasties, comparing the aesthetic characteristics of the Han Dynasty and the Song Dynasty longitudinally, and contrasting the different objects under the homologous aesthetic consciousness horizontally, the aesthetic characteristics and aesthetic value of the animal pattern portrait brick in the south of the Yangtze River of the six dynasties are summed up.
【学位授予单位】：江南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

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