屏风—移动的“

发布时间：2018-05-10 11:07

本文选题：空间 + 等级　；参考：《中国戏曲学院》2016年硕士论文

【摘要】：屏风作为我国传统室内的屏蔽器具,它是中国最古老的器具形制之一,《长物志·几塌》中有记载“屏风之制最古”。它的产生与我国的民族文化有着密切的渊源,屏风的功能以及形制不断演变,它体现着不同时代的审美价值观,并承载着某种文化的诉求。屏风作为一件在中国文化特性中被制作和使用的物品,是具有中国语言的一种文化样式,它有着多重的身份。在中国古代的任何空间中,“背负屏风”式的形象所象征的是在政治权利以及人伦纲常中处于最高权力的位置,是这一空间掌握话语权的人。作为一种准建筑形式,它对空间进行分隔。在艺术史上,屏风这一绘画媒材对它在其形制、风格、隐喻乃至观看方式上都有着深刻的影响。它作为一种重要的书画形制,是在绘画中频繁出场的绘画母题,是主人身份或是理想的隐喻。在古代绘画中屏风作为“真实“世界与”虚幻“世界的分隔物,景中套景、屏内套屏的构图方法,产生了一种戏剧性的观看视角。在戏剧舞台中“屏”作为一个空间装置,将观看者与观赏对象分隔开来,并对其所处的空间进行分割、重组,营造一个写意的舞台。由此从视觉上完成了二维平面到三维立体空间的转换。本文通过对屏风文化意义起源的追寻,结合中国绘画作品中屏风这一绘画母题的研究以及“屏”在戏剧舞台上的运用案例,论述诗意空间、视觉空间以及戏剧舞台上的“屏”。屏风在不同的空间扮演着不同的角色,它面对不同的观众有着不同的面孔,正如哈姆雷特一般,它的角色带给观众无限的解释多可能。它的多种样式和多重角色形成了一个单独的历史传统。
[Abstract]:Screen is one of the oldest instruments in China, as the traditional shielding device in our country. "the system of screen is the most ancient". It has a close origin with the national culture of our country. The function and shape of screen are constantly evolving. It embodies the aesthetic values of different times and carries the demands of a certain culture. As an object made and used in Chinese culture, screen is a kind of cultural style with Chinese language, and it has many identities. In any space in ancient China, the image of "carrying screen" symbolizes the highest position of power in the political rights and the principles of human relations, and is the person in this space who has the right to speak. As a quasi-architectural form, it separates space. In the history of art, screen has a profound influence on its form, style, metaphor and even the way of viewing. As an important calligraphy and painting system, it is the motif of painting which frequently appears in painting, and is the master identity or ideal metaphor. In ancient painting, screen, as the separation of "real" world and "illusory" world, has produced a dramatic viewing angle. As a space device in the stage of drama, the screen separates the viewer from the object of viewing, divides and reorganizes the space in which it is located, and creates a stage of freehand brushwork. Thus, the transformation from two-dimensional plane to three-dimensional space is accomplished visually. This paper discusses the poetic space, visual space and "screen" on the stage of drama through the search for the origin of the cultural meaning of screen, the study of screen as a painting motif in Chinese painting works and the application of screen on the stage of drama. Screen plays different roles in different spaces. It has different faces to different audiences. Like Hamlet, its role brings infinite possibilities to the audience. Its multiple styles and multiple roles form a separate historical tradition.
【学位授予单位】：中国戏曲学院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J814.2

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