从八件艺术作品看隋唐时期的艺术创新观念

发布时间：2018-02-22 01:00

本文关键词： 隋唐时期艺术创新精神　出处：《山西大学》2007年硕士论文　论文类型：学位论文

【摘要】： 隋唐时期(公元581-907)，中国历史结束了魏晋南北朝以来长达近300年的分裂局面，进入了一个统一强盛的时期，它的疆域在极盛时东北到达日本海，西北达里海，北界包括贝加尔湖和叶尼塞河上游，南至日南(越南广治一带)。隋炀帝继位后，以强大的经济实力为后盾，营造东京、开凿运河。如果东京的精致奢华纯为满足帝王个人欲望的话，那么长达4800里的大运河的开通，则大大促进了大江南北经济文化的交流，巩固了国家的统一。另外，隋文帝开创的制度也得到了隋炀帝的发展和完善，成为走向唐代制度的一个必要中介。唐自建国之初就十分重视社会的安定和政治的开明，太宗李世民一代出现了五谷丰登、百姓安乐的“贞观之治”，玄宗李隆基时期达到国力强盛的“开元盛世”，经济的发达，社会的繁荣使唐朝成为中国历史上封建社会最为繁荣的鼎盛时期。繁荣富强的社会，昂扬向上、意气风发的时代为艺术的发展奠定了雄厚的基础。至盛唐，艺术达到了登峰造极的地步，，诗歌、书法、绘画、雕塑、音乐、舞蹈、散文和传奇小说等，呈现出全面发展、空前繁荣的多元化局面，创造了中国乃至世界艺术史上的一个奇观。苏联美学家卡岗认为；艺术是它所属的文化的反映和代表，从这种意义上讲，艺术起到了“文化自我意识”作用，因为“艺术仿佛是一面镜子，文化从中照见自己，从中认识自己，并且只有在认识自己的同时，才能认识它所反映的世界”①强调指出，艺术史能够准确和有力地体现出文化发展的历史进程。从某种意义上说，每一个民族或时代的艺术都是深嵌在一个民族文化或时代的框架之中。我们研究隋唐时期艺术之所以能够达到如此辉煌的境界，可以说来自于政治、经济、思想、文化等诸方面的推动力，但是在这些表层现象的深处，创新精神才是艺术发展的终极原因，所以，本文以“从八件艺术作品看隋唐时期的艺术创新观念”为题，试图从理论的深层次来挖掘唐代艺术发展的真正原因和体现。
[Abstract]:During the Sui and Tang dynasties (581-907AD), Chinese history ended nearly 300 years of division since the Wei, Jin, Southern and Northern dynasties, and entered a period of unity and prosperity. Its territory reached the Sea of Japan and the northwestern reaches to the Caspian Sea at its peak. The northern boundary includes Lake Baikal and the upper reaches of the Yenise River, and from the south to the south (after the succession of Emperor Yang of Sui in the area of Guangzhi, Vietnam), with strong economic strength as the backing, Tokyo was built. Open a canal. If Tokyo's exquisite luxury is purely to satisfy the emperors' personal desires, then the opening of the 4,800-mile Grand Canal will greatly promote the economic and cultural exchanges between the great rivers, the north and the south, and consolidate the unity of the country. The system pioneered by Emperor Sui Wendi was also developed and perfected by Emperor Yang of the Sui Dynasty, and became a necessary intermediary to the system of the Tang Dynasty. When the Tang Dynasty began to build its own country, it attached great importance to social stability and political openness, and the generation of Taizong Li Shimin had a good harvest of grain. "Rule of chastity" of people's peace, the period of Xuanzong Li Longji reached "Kaiyuan prosperous period" with strong national strength, and the development of economy and the prosperity of society made the Tang Dynasty become the most prosperous period of feudal society in Chinese history. The era of prosperity and strength laid a solid foundation for the development of art. At the height of the Tang Dynasty, art reached its peak, poetry, calligraphy, painting, sculpture, music, dance, Prose and legendary novels have presented a diversified situation of all-round development and unprecedented prosperity, creating a spectacle in the history of art in China and even the world. According to Soviet aesthetician Kagan, art is the reflection and representative of the culture to which it belongs. In this sense, art plays the role of "cultural self-consciousness," because "art is like a mirror from which culture can see itself." Knowing themselves, and only when we know ourselves, can we understand the world it reflects "1 emphasizing that the history of art can accurately and forcefully reflect the historical process of cultural development... in a sense, The art of every nation or era is deeply embedded in the framework of a national culture or era. We can say that the art of the Sui and Tang dynasties was able to achieve such a splendid state by coming from politics, economy, and thought. Culture and other aspects of the driving force, but in the depths of these surface phenomena, innovative spirit is the ultimate reason for the development of art, therefore, this article "from the eight works of art to see the Sui and Tang dynasties of artistic innovation concept" as the title, This paper tries to excavate the real reason and embodiment of Tang Dynasty art development from the deep level of theory.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J120.9

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