唐朝工笔人物画设色研究

发布时间：2019-02-09 20:08

【摘要】：本文第一章整体地从初唐、中唐、晚唐三个时期的具有代表性的工笔人物画中的样式和设色进行了描述和归纳,唐初,阎立本的工笔人物画是线色分离的,到中唐,张萱周f 的工笔人画转化成为线色融合的状态,到晚唐,孙位更进一步地延展了线条的书写性,发展成为线色二位一体的工笔人物画样式,一方面由线性的转变从而引起设色方式的转变,另一方面受西域画法的影响,设色方式上面开始注重阴阳向背,使得工笔人物画的线色得到了更好的融合。工笔人物画是由线和色两部分组成的,线和色,一个是骨,另一个就是肉,线性的转变带来了设色方式的转变,设色的变化也为线性的发展带来契机。文章进而探讨造成这些变化的原因和特点,本文主要是探讨唐朝工笔人物画的设色是如何一步步变化发展,并日臻完善的。
[Abstract]:The first chapter of this paper describes and sums up the styles and colors of the representative meticulous figure paintings in the early Tang Dynasty, the Middle Tang Dynasty and the late Tang Dynasty. In the early Tang Dynasty, Yan Liben's fine brushwork figure paintings were separated by lines and colors, to the middle Tang Dynasty. Zhang Xuan Zhou f's meticulous brushwork was transformed into a state of line and color fusion. In the late Tang Dynasty, Sun Wei further extended the writing of the lines and developed into a fine brushwork figure painting style with both lines and colors. On the one hand, the change of color pattern caused by the linear change, on the other hand, influenced by the painting method of the Western region, the way of color setting began to pay attention to the Yin and Yang to the back, which made the line color of the fine brushwork figure painting get better fusion. Fine brushwork figure painting is made up of line and color, one is bone and the other is flesh. The change of line and color brings the change of the way of coloring, and the change of color also brings the opportunity for the development of linearity. The article further discusses the causes and characteristics of these changes, this paper mainly discusses how the painting of fine brushwork figure painting in the Tang Dynasty is a step by step change and development, and is becoming more and more perfect.
【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】：2013
【分类号】：J212

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