發(fā)布時間：2018-02-15 19:33

  本文關(guān)鍵詞： 漢畫像石 龍圖像 藝術(shù)設(shè)計 形式美 新啟示　出處：《陜西師范大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：兩漢時期在中華文化形成特殊的地位。前承周秦、后啟隋唐,為兩千多年的中國封建社會奠定了基礎(chǔ),流放周邊諸國。漢文化是華夏文化的杰出代表,漢代的畫像石文化是一項豐富特色的藝術(shù)遺產(chǎn)。在我國,專門陳設(shè)展示漢畫像石藝術(shù)的專業(yè)博物館有十多個,有哪個藝術(shù)形式享有如此的殊榮?二十世紀(jì)五年代以來,我國對畫像石的研究,多從史學(xué)的角度入手去探討研究,那么,從藝術(shù)的層面進行探究的分析就顯得薄弱了很多。作為造型藝術(shù)精品的畫像石的珍貴的藝術(shù)價值還有待研究、利用和分析。從這個意義上來講,這個距離今天大約二千年歷史背景的藝術(shù)精品,是兩千年以前最直觀的形象表現(xiàn),也是唯一用模寫的形式記錄下來的當(dāng)時的社會現(xiàn)象。和其他藝術(shù)形式不同,漢代的畫像石可以說包羅萬象,浩瀚無窮。作為我國藝術(shù)史上的奇葩的漢畫像石,被專家稱之為“敦煌前的敦煌”。 漢代特定的政治與文化背景對漢畫像的價值取向產(chǎn)生了重要的影響作用,自然力量的巨大和神奇是漢畫像孕育藝術(shù)美的重要動力。歷史悠久,輝煌燦爛的龍圖像是漢畫像石藝術(shù)重要的組成部分。而本篇文章撰寫的意義就在于此,通過對漢畫像石文化中龍圖像這一傳統(tǒng)圖像元素進行分析和研究。首先重點解析出漢人喜歡用龍做裝飾的原因何在、目的何在、意義何在,然后探究龍這一傳統(tǒng)圖像在漢代的南陽漢畫像石中的文化含義、形態(tài)美感,以及新世紀(jì)中的現(xiàn)代人對漢龍圖像在思想上和造型設(shè)計上的沿用和傳播。 本論文分別從五部分進行論述： 第一部分,是緒論部分,主要闡述了本論文的研究目的和研究意義,研究手段和創(chuàng)新之處。 第二部分,先簡要介紹不同地區(qū)漢畫像石的起源,從而具體的分析探討南陽的漢畫像石和南陽漢畫像石的龍圖像獨特的傳承和奇特之處。 第三部分,是本文的核心部分。結(jié)合南陽不同墓區(qū)中的龍圖像的造型形式,分析龍圖像的形式美感。本章內(nèi)容分為了六個小節(jié),分別是唐河墓區(qū)的龍圖像、方城墓區(qū)的龍圖像、鄧縣墓區(qū)的龍圖像、臥龍區(qū)墓區(qū)的龍圖像、宛城區(qū)墓區(qū)的龍圖像、南陽市區(qū)墓區(qū)的龍圖像,展示和分析了各個墓區(qū)的龍形象的形式美感。 第四部分,通過對現(xiàn)代藝術(shù)作品中龍圖像的形式美感分析,說明傳統(tǒng)龍圖像對社會的影響和傳播意義。 第五部分,本文結(jié)語部分,主要是強調(diào)了現(xiàn)代設(shè)計師在設(shè)計中要注意傳統(tǒng)與現(xiàn)代的結(jié)合,延續(xù)和發(fā)展。
[Abstract]:The Han Dynasty formed a special position in the Chinese culture. It was the foundation of the feudal society of China for more than 2,000 years and exiled the neighboring countries. The Han culture was an outstanding representative of the Chinese culture. The stone relief culture of the Han Dynasty is a rich artistic heritage. In our country, there are more than a dozen specialized museums dedicated to displaying the stone relief art of the Han Dynasty. Which art form enjoys such a special honor? Since the fifties in 20th century, the study of stone portraits in China has been studied from the perspective of history. The analysis of inquiry from the artistic level appears to be much weaker. The precious artistic value of stone relief as a fine plastic arts remains to be studied, used and analyzed. In this sense, This fine work of art, which is about 2,000 years from today's historical background, is the most intuitive image of the two thousand years ago, and the only social phenomenon recorded in the form of a model written at that time. It is different from other forms of art. Han Dynasty stone relief can be said to be all-encompassing, boundless. As a rare flower in the history of Chinese art, Han stone is called "Dunhuang before Dunhuang" by experts. The specific political and cultural background of the Han Dynasty had an important influence on the value orientation of the Han Dynasty portrait. The great and magical nature force was the important motive force for the artistic beauty of the Han Dynasty portrait, which had a long history. The splendid dragon picture is like an important part of the art of stone relief in the Han Dynasty. And this is the significance of this article. Through the analysis and study of the traditional image element of dragon image in the stone relief culture of Han Dynasty, this paper analyzes the reason why Han people like to use dragon as decoration, the purpose and significance. Then it probes into the cultural meaning, the aesthetic sense of form and the use and dissemination of the traditional image of the dragon in the Han stone of Nanyang in the Han Dynasty, as well as the ideological and styling design of the Han dragon image by modern people in the new century. This thesis is discussed in five parts:. The first part is the introduction part, mainly expounds the research purpose and significance, research means and innovation of this paper. In the second part, the origin of Han stone in different areas is briefly introduced, and the unique inheritance and peculiar place of Nanyang Han stone and Nanyang Han stone dragon image are analyzed concretely. The third part is the core part of this paper. Combined with the form of dragon images in different tombs in Nanyang, the aesthetic sense of dragon images is analyzed. This chapter is divided into six sections, which are dragon images in Tang River Tomb area. The dragon images of Fangcheng Tomb area, Deng County Tomb area, Wolong Tomb area, Wancheng City Tomb area and Nanyang City Tomb area are shown and analyzed. In the 4th part, through the analysis of the aesthetic sense of the dragon image in the modern art works, the influence of the traditional dragon image on the society and its spreading significance are explained. Part 5th, the conclusion of this paper, mainly emphasizes that modern designers should pay attention to the combination of tradition and modern design, continuity and development.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：K879.4

【參考文獻】

相關(guān)期刊論文 前1條

1 周到 ,呂品;南陽漢畫像石簡論[J];中原文物;1982年02期

，

本文編號：1513717