唐代壁画的艺术特征

发布时间：2018-08-24 16:16

【摘要】：唐代是一个多民族艺术共荣的时代，呈现出一番独特气质。壁画作为很好的艺术载体，久经时间、战乱、恶意损坏等洗礼依然屹立。它在唐代从内容、形式、技法、境界等方面都达到巅峰，是往后朝代所不能媲及的，也是我们学习研究传统的有力工具，从而与自身的审美意趣融合，挟古纳今，开拓思路，，在自己的绘画道路上有更多的创造性探索和尝试！唐代的壁画保留了部分魏晋，隋代的用色传统和构图方法，并有选择的吸收外来文化的优点，再融入自身特有的审美和时尚，创造出饱满的艺术形象和独特的艺术境界。在人物形象上较以前有很大的不同，多丰满圆润的造像，且面容平和、欢愉、神态悠闲，显示出唐代特有的审美倾向，最具代表的是出现女性化的佛。在场景的描绘中，说法图这一构图形式成为了较典型的大场景构图形式，在这些场景中，亭台楼阁林立，彩云仙气遍布，一切都显得那么金碧辉煌，缜密精致，这从另一个角度也显示出了当时唐人的气度。同时它还有很多前朝所没有的创新，如在墓室壁画中少了仙羽神兽，多了描绘世俗的人、事、物，并出现了独立的屏风式山水画和花鸟画；在佛教壁画中出现着装时尚的类似肖像画的供养人画像，这都是当时人民富足的生活和精神状态的写照。气势恢弘的鸿篇巨制，富丽堂皇而又高雅大方的色调，洒脱飘逸而又刚柔相济的，这些都造就了独特的大唐气象。唐代壁画作为中国壁画史上非常重要的一部分，既很好的传承了前人的艺术精髓，又恰如其分的将当时的审美追求与艺术理念融入到壁画中，从而使唐代的壁画艺术风格异于前人而又能在中国壁画艺术史上焕发光彩。本文从现存的多处唐代壁画入手，通过对这一时期不同地域、不同风格的唐代壁画进行细致分析和研究。主要从唐代现存的洞窟壁画、寺观壁画、墓室壁画进行探索并分析，而敦煌的莫高窟作为现存的壁画中保存较多、品相完整、艺术价值很高的代表，本文将之作为重中之重来加以说明分析。同时依据唐代壁画的传承与发展过程，分为不同时期，如初唐、盛唐、中晚唐，结合当时变化的政治、社会、文化环境的影响来分析，试从艺术发展的角度说明唐代壁画的艺术特征，并通过多个角度深刻还原唐代壁画对后世的深远影响，并竭力通过尽可能多的文字材料和图片资料增强本文的说服力和学术性。其中唐代壁画对日本画的影响很大，也予以说明。
[Abstract]:Tang Dynasty is a multi-national art co-prosperity era, showing a unique temperament. Murals as a good art carrier, the long-lived, war, malicious damage and other baptism still stand. It reached its peak in the Tang Dynasty in terms of content, form, technique, realm, and so on. It was beyond the reach of the later dynasties. It was also a powerful tool for us to study and study tradition, thus merging with our own aesthetic interests, carrying ancient and modern ideas, and developing ideas. There are more creative explorations and attempts on the way of painting! The frescoes of the Tang Dynasty retained some of the color tradition and composition method of the Wei, Jin and Sui dynasties, and had the advantages of absorbing foreign culture selectively, and then integrated into their own unique aesthetic and fashion, creating a full artistic image and unique artistic realm. There is a great difference in characters image, more plump and round statues, and the face of peace, joy, leisurely manner, showing the unique aesthetic trend of the Tang Dynasty, the most representative is the appearance of feminized Buddha. In the description of the scene, the composition form of the narrative map has become a more typical large scene composition form. In these scenes, the pavilions and pavilions are full of buildings, colorful clouds and immortals are everywhere, everything seems so brilliant and meticulous and exquisite. This from another angle also shows the tolerance of the Tang people at that time. At the same time, it also has many innovations that did not exist in the previous dynasties, such as the absence of immortals and wild animals in the murals of the tomb room, the more secular people, things, objects, and the emergence of independent screen landscape paintings and flower-and-bird paintings; In Buddhist frescoes, fashionable portraits like portraits are seen as a portrait of the rich life and spiritual state of the people of the time. Magnanimous monumental system, magnificent and elegant and generous tone, free and easy and elegant and soft, these have created a unique atmosphere of the Tang Dynasty. As a very important part in the history of Chinese murals, the fresco of Tang Dynasty not only inherits the artistic essence of the predecessors, but also appropriately integrates the aesthetic pursuit and artistic concept into the murals. Thus, Tang Dynasty mural art style is different from predecessors and can shine brilliantly in the history of Chinese mural art. This paper starts with the existing frescoes of Tang Dynasty, and analyzes and studies the frescoes of Tang Dynasty in different regions and styles in this period. Mainly from the Tang Dynasty existing cave murals, temple murals, tomb murals to explore and analyze, and Dunhuang Mogao Grottoes as the existing mural preservation more, integrity, artistic value is very high representative, This article regards it as the most important point to explain and analyze. At the same time, according to the inheritance and development of the murals of the Tang Dynasty, they are divided into different periods, such as the early Tang Dynasty, the prosperous Tang Dynasty, the Middle and late Tang Dynasty, and the influence of the changing political, social and cultural environment at that time. This paper tries to explain the artistic characteristics of the frescoes in Tang Dynasty from the angle of artistic development, and deeply restores the profound influence of the murals of the Tang Dynasty on later generations through many angles, and tries to strengthen the persuasive and academic nature of this article through as many text materials and picture materials as possible. Among them, the influence of Tang Dynasty frescoes on Japanese paintings is very great, which is also explained.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J218.6

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