本文選題：鳥 + 人��； 參考：《湖南師范大學(xué)》2010年碩士論文

【摘要】： T型帛畫由于馬王堆一號墓在中國繪畫史上的特殊地位,國內(nèi)外許多專家學(xué)者發(fā)表了不少論文和專著,研究成果十分豐富,然而時至今日,學(xué)術(shù)界就其性質(zhì)、功能、圖像、思想性等諸多方面仍未能達(dá)成共識,可以說是眾說紛紜,莫衷一是。 本文旨在從形相學(xué)的角度,結(jié)合圖像、文獻(xiàn)資料選取幾個視覺符號作為切入點(diǎn)研究“T”型帛畫。不僅僅從圖像本身去考證,更多的是關(guān)注于圖像之外的其他關(guān)系。 文章首先將形相學(xué)與帛畫作了大致的介紹,并把國內(nèi)對T型帛畫相關(guān)的研究現(xiàn)狀分類作了描述,概括了各領(lǐng)域各角度對帛畫所作出的研究工作,從而擬定了文章的大致框架；然后,將作為切入點(diǎn)的“鳥”“人”“魚”視覺符號從遠(yuǎn)古時期及至漢代的演變作了大致的梳理,通過具有代表性的作品從自然環(huán)境,政治,經(jīng)濟(jì),文化,宗教等角度進(jìn)行了論述；作為論文的主體部分,文章重點(diǎn)考察了“鳥”“人”“魚”圖像本身的意義以及相互之間關(guān)系,將帛畫中相關(guān)的符號作了劃分和歸納,逐一進(jìn)行闡釋,并穿插對符號之間關(guān)系的探討。同時還針對這些符號與棺槨乃至整個墓葬的關(guān)系進(jìn)行了探討分析,從而上升到符號之上的相關(guān)文化思想的研究。作為載體的T型帛畫,融匯禮治思想,世俗化的神仙思想以及楚文化于一體,超脫于圖像層面以外的精神層次的東西或者更大而化之至社會生活方面的種種都逐漸鮮明,從而映射出漢文化多元性的特色。其符號本身及帛畫整體風(fēng)格都對后世繪畫藝術(shù)及思想等方面產(chǎn)生深遠(yuǎn)影響,同時也將對帛畫的價值研究提供新的思路。
[Abstract]:Due to the special position of Tomb No. 1 of Ma Wang Dui in the history of Chinese painting, many experts and scholars at home and abroad have published a lot of papers and monographs, and the research results are very rich. However, up to now, the academic circles have focused on its nature, function, and images. Ideological content and many other aspects still can not reach a consensus, can be said to be divergent, disagreement. The purpose of this paper is to select several visual symbols as the starting point to study "T" type silk paintings from the angle of metaphysics and image. Not only from the image itself to verify, more focus on the image other than the relationship. At first, the paper gives a general introduction to Morphology and silk painting, and describes the research status quo of T type silk painting in China, summarizes the research work on silk painting from various angles in various fields, and draws up the general framework of the article. Then, the visual symbol of "bird" and "man" and "fish", which is regarded as the breakthrough point, is roughly combed from ancient times to Han Dynasty, through representative works from natural environment, politics, economy and culture. As the main part of the thesis, the paper focuses on the significance of the image of "bird" and "man" and "fish" and the relationship between them, classifies and induces the relevant symbols in silk painting, and explains them one by one. And interspersed with the relationship between symbols. At the same time, the relationship between these symbols and the coffin and even the whole tomb is discussed and analyzed, so as to study the related cultural thoughts that rise above the symbols. T-type silk paintings as a carrier, fusion of the thought of rule of etiquette, secularization of immortals and Chu culture, transcending the spiritual level beyond the image level, or beyond the level of the image, or, even larger, to the aspects of social life, are becoming more and more distinct. Thus reflecting the characteristics of the diversity of Han culture. Both the symbol itself and the overall style of silk painting have a profound influence on the art and thought of painting in later generations, and will also provide a new way of thinking for the study of the value of silk painting.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：K879.4

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本文編號：1918215