本文選題：淮北地區(qū)　切入點(diǎn)：漢畫像石　出處：《淮北師范大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】：摘要:漢畫像石作為漢代所特有的墓室建筑基礎(chǔ)構(gòu)件,題材豐富、內(nèi)容生動(dòng),展現(xiàn)了一個(gè)“品類群生,雜物奇怪”的藝術(shù)天地,代表了漢代裝飾藝術(shù)的輝煌成就。漢代是個(gè)造神的時(shí)代,在繼承先秦楚韻、齊風(fēng)的基礎(chǔ)上,在漢代厚葬文化的浸潤中,在民眾通俗文化的滲透下,神話圖式以畫像石為載體得到衍生和大量涌現(xiàn),展現(xiàn)著漢代人獨(dú)特的精神世界和美學(xué)特質(zhì)�；春恿饔蚩缭降赜蚍秶鷱V泛,文化層次豐富,文化面貌復(fù)雜,藝術(shù)也呈現(xiàn)出多元文化并存的包容性、多種地域文化互滲的過渡性、各種文化兼容并蓄的開放性特色。淮河以北地區(qū)作為淮河流域的一個(gè)典型代表,是漢代之心腹,此地區(qū)匯合了以山東齊魯文化、河南中原文化、江蘇吳文化以及湖北楚文化為代表的多種地域文化,此地區(qū)出土的漢畫像石,在全國范圍來看也是極具有代表性的一支,各地方由于地域性差異,使神話圖式多姿多彩,多元一體,和中有異,異中求同,體現(xiàn)出藝術(shù)上的原生性、源發(fā)性的特質(zhì),彰顯了漢代裝飾藝術(shù)的魅力。本文立足于地域文化的研究和探討,以淮北地區(qū)出土的漢畫像石神話圖式為研究對(duì)象,先將其從天上仙界、人間世界和地下冥界三個(gè)大的系統(tǒng)進(jìn)行分類,每個(gè)時(shí)空選取具有典型意義的圖飾從其功能性、審美性、象征性上進(jìn)行解析,闡釋神話圖式的文化內(nèi)涵,挖掘漢代人特有的世界觀和人生哲學(xué)觀。之后本文著重從地域文化的角度進(jìn)行比較分析,先對(duì)淮北地區(qū)所包含的地域文化影響之下的漢畫像石神話圖式風(fēng)格進(jìn)行比較,研究本地區(qū)不同地域文化形態(tài)在同一政治氣候、同一意識(shí)形態(tài)下,由于地理因素、地質(zhì)特點(diǎn)、民風(fēng)俗物的不同對(duì)神話圖式的不同表現(xiàn)形式和表現(xiàn)手法,發(fā)掘地域文化的豐富性、和多姿性;之后又將本區(qū)之外的地域文化熏染下的圖飾風(fēng)格進(jìn)行比對(duì),從而在更深層次的挖掘漢畫像石神話圖式的精神內(nèi)涵和文化底蘊(yùn)。對(duì)不同地域神話圖式的文化構(gòu)成、美學(xué)特色作出細(xì)微的分析,并將其藝術(shù)魅力應(yīng)用于現(xiàn)代裝飾繪畫的設(shè)計(jì)中,將我國深厚的傳統(tǒng)藝術(shù)文化和現(xiàn)代美學(xué)理念融合,以指導(dǎo)自己的創(chuàng)作實(shí)踐。
[Abstract]:Abstract: as the basic component of the tomb building in Han Dynasty, the stone relief in Han Dynasty is rich in subject matter and vivid in content, showing an artistic world of "group of categories, strange sundries". It represents the brilliant achievement of the decorative art of the Han Dynasty. The Han Dynasty was an era of creating gods. On the basis of inheriting the pre-Qin rhyme of Chu Yun and Qi Feng, in the infiltration of the heavy burial culture of the Han Dynasty, the Han Dynasty was permeated by the popular culture of the people. The mythological schema, which is derived and sprung up in large numbers with the stone relief as the carrier, shows the unique spiritual world and aesthetic characteristics of the people in the Han Dynasty. The Huaihe River valley spans a wide range of regions, is rich in cultural levels, and has a complex cultural outlook. Art also presents a multi-cultural coexistence of inclusiveness, a transition of multiple regional cultures, and an open and inclusive culture. As a typical representative of the Huaihe River Basin, the area north of the Huaihe River is the confidant of the Han Dynasty. This region brings together a variety of regional cultures represented by Shandong Qilu Culture, Henan Central Plains Culture, Jiangsu Wu Culture and Hubei Chu Culture. The Han Stone unearthed in this region is also a representative branch in the whole country. As a result of regional differences, various places make mythological schemas colorful, pluralistic, and different in nature, seeking for common ground, reflecting the characteristics of originality and originality in art. Based on the research and discussion of regional culture, this paper takes the mythological pattern of Han Dynasty stone relief unearthed in Huaibei area as the research object. The earth world and the underground underworld are classified into three major systems. Each time and space selects graphic ornaments of typical significance to analyze their functions, aesthetics and symbolism, and explain the cultural connotations of the mythological schemata. Excavating the unique view of the world and philosophy of life in the Han Dynasty. Then this paper focuses on the comparative analysis from the angle of regional culture, and compares the mythological schema of the stone relief of the Han Dynasty under the influence of the regional culture in Huaibei region. Under the same political climate and the same ideology, this paper studies the different forms and expressions of different regional cultures in the same political climate and the same ideology, and explores the richness of regional culture because of the geographical factors, geological characteristics, the different forms and expressions of folk customs and customs to the mythological schemata. Then compare the style of painting and decoration influenced by regional culture outside this area, so as to excavate the spiritual connotation and cultural background of Chinese stone portrait mythology schema at a deeper level. To the cultural composition of different regional mythological schema, The aesthetic features are analyzed in detail, and their artistic charm is applied to the design of modern decorative paintings. The profound traditional art culture and modern aesthetic concepts are combined to guide their creative practice.
【學(xué)位授予單位】：淮北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：K879.4

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本文編號(hào)：1638583