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  本文選題：墓室壁畫 + 禽鳥題材��； 參考：《中央美術(shù)學(xué)院》2011年碩士論文

【摘要】：壁畫,目前已經(jīng)成為一門重要的藝術(shù)學(xué)科,在各大美術(shù)院校均有丌設(shè)。然而,作為深受西方繪畫影響的學(xué)科如何積極吸取本土的創(chuàng)作語言仍然是值得再繼續(xù)深入探討的課題。中國有著悠久的繪制壁畫的傳統(tǒng),從魯靈光殿,到西漢麒麟閣,到唐代凌煙閣,再到敦煌現(xiàn)存的大量佛教壁畫等等；除卻文獻記載和地上現(xiàn)存的豐富資料,在地下還存有更為豐富的資料——墓室壁畫。中國自西漢起就有繪制墓室壁畫的傳統(tǒng)(甚至還可以早到前秦或秦代,只是相關(guān)的資料并未發(fā)掘),至唐代墓室壁畫,其所表現(xiàn)的內(nèi)容已經(jīng)深入到社會生活的各個方面,且技法也日益成熟。因此,當(dāng)代的壁畫學(xué)習(xí)和創(chuàng)作是不能夠簡單地拋開這些豐富的資料而獨自進行的,如何吸取中國傳統(tǒng)的壁畫尤其是近些年才剛剛被發(fā)現(xiàn)的曾經(jīng)被忽視的大量墓室壁畫的語言和技法仍然是一個重要的課題。本文將主要以唐代墓室壁畫為研究對象,并著重研究唐代墓室壁畫中大量存在的“禽鳥圖像”。 在今天我們的一般觀念中,甚至在很多的研究著作中,唐代的“禽鳥圖像”一般都被歸為花鳥畫的領(lǐng)域進行研究,顯然,這種以后來的概念研究前代課題的方式并不十分妥帖。所以本文的研究選取了“禽鳥”題材的圖像為研究對象,并將之置于唐代墓室壁畫的范疇和環(huán)境之內(nèi)進行重新觀察。 本文的題目為“唐代墓室壁畫禽鳥圖像研究”,也正是基于美術(shù)學(xué)壁畫專業(yè)的考慮和繪畫史研究的需要,對唐代墓室壁畫中出現(xiàn)的禽獸圖像進行全面而系統(tǒng)的分析研究,不僅關(guān)注藝術(shù)風(fēng)格的轉(zhuǎn)變,并且也將試著探討在唐代墓室壁畫中禽鳥圖像的藝術(shù)風(fēng)格的轉(zhuǎn)變其背后的原因和意義,從而不僅彌補中國美術(shù)史研究中的一處重要缺失,更旨在為當(dāng)代壁畫教學(xué)和創(chuàng)作尋找創(chuàng)作元素和繪畫語言。
[Abstract]:Murals, which have become an important subject of art, have been developed in various art colleges and universities. However, as a subject deeply influenced by Western painting, how to absorb the native creative language actively is still a subject worthy of further discussion. China has a long tradition of painting murals, from the Lulingguang Temple to the Kirin Pavilion in the Western Han Dynasty, to the Lingyan Pavilion in the Tang Dynasty, to the large number of Buddhist murals existing in Dunhuang, and so on. There are also more abundant underground materials-tombs murals. Since the Western Han Dynasty, China has had the tradition of drawing murals of tombs (even as early as the Qin or Qin dynasties, but the relevant materials have not been excavated, until the Tang Dynasty, the contents of the murals have gone deep into all aspects of social life. And the technique also matures day by day. Therefore, the study and creation of contemporary murals cannot simply be carried out independently of these rich materials. How to absorb the traditional Chinese murals, especially the language and techniques of a large number of tomb murals that have been neglected in recent years, is still an important subject. This paper will focus on the tomb murals of the Tang Dynasty as the research object, and focus on the existence of a large number of "birds and birds" in the tomb murals of the Tang Dynasty. In our general idea today, even in many research works, the "bird and bird image" of Tang Dynasty is generally classified as the field of flower and bird painting. Obviously, this way of studying the former generation subject with the later concept is not very appropriate. Therefore, this study selected the image of "bird" as the research object, and placed it in the category and environment of tomb murals of Tang Dynasty for re-observation. The title of this paper is "the study of Fowl and Birds in Tombs of Tang Dynasty", which is based on the professional consideration of art mural and the need of studying the history of painting, and makes a comprehensive and systematic analysis and research on the images of animals and animals appearing in the murals of the tombs of the Tang Dynasty. Not only pay attention to the change of artistic style, but also try to explore the reasons and significance behind the change of the artistic style of birds and birds in the tomb murals of the Tang Dynasty, so as not only to make up for an important deficiency in the study of Chinese art history. The aim is to find creative elements and painting language for contemporary mural teaching and creation.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K879.41

【參考文獻】

相關(guān)期刊論文 前10條

1 ;唐昭陵李，

本文編號：1880225