【摘要】：唐墓壁畫侍女形象是陜西唐墓壁畫的重要組成部分,不僅反映了唐代貴族生活的各個方面,而且具有很高的藝術(shù)水準(zhǔn)。本文《陜西唐墓壁畫侍女形象的藝術(shù)風(fēng)格及演變探究》主要通過對陜西地區(qū)分布的唐代陵墓壁畫中的侍女形象進行藝術(shù)探討分析;本文重點放在對唐代壁畫墓中的人物畫尤其是侍女人物畫藝術(shù)風(fēng)格的變化與分期的研究上,通過對唐墓壁畫侍女形象進行研究,與文獻資料相互對應(yīng),可以展示這一時期眾多畫家在繪畫上的成就,得出從繪畫藝術(shù)角度表明唐墓壁畫繼承和發(fā)展了戰(zhàn)國魏晉以來的傳統(tǒng)繪畫技術(shù),吸取了外來文化的有益成分,唐代壁畫藝術(shù)達(dá)到了空前成熟的興盛階段的結(jié)論。 通過對關(guān)中地區(qū)唐墓壁畫基礎(chǔ)資料的整理觀察,對陜西唐墓壁畫中侍女形象進行分期探討,其中主要選取陜西地區(qū)分布的唐代陵墓壁畫的侍女形象的梳理、研究,總結(jié)出陜西唐墓壁畫人物侍女畫各階段的風(fēng)格及特點,結(jié)合文獻進行分析,并于壁畫中所見進行比較,從繪畫藝術(shù)史的角度對其進行探討。印證像吳道子、張萱、周f 這些畫壇領(lǐng)軍人物的樣式及技法,反映出唐代中國人物畫的繪畫風(fēng)格和繪畫藝術(shù)發(fā)展的脈絡(luò)。將其置于唐代繪畫史中來闡述其藝術(shù)史方面的意義。通過對唐代各個時期墓室壁畫的探討研究,反映出唐代長安繪畫主流風(fēng)格和審美情趣的演變。為我們還原唐代的繪畫面貌,建構(gòu)更為完善、可信的唐代人物畫史提供相對準(zhǔn)確有效的依據(jù)。同時對我們研究唐代人物畫的風(fēng)格、觀念、技法,以及當(dāng)時的社會文化具有重要意義,對于我們當(dāng)下的工藝美術(shù)創(chuàng)作具有借鑒參考價值。
[Abstract]:As an important part of Shaanxi Tang Tomb murals, the image of the maids of the frescoes of the Tang Tombs not only reflects all aspects of the life of the aristocrats in the Tang Dynasty, but also has a very high artistic standard. In this paper, the artistic style and evolution of the maids' images in the tombs of Tang Dynasty in Shaanxi Province are discussed and analyzed mainly by analyzing the images of maids in the murals of Tang Dynasty mausoleums distributed in Shaanxi region. This paper focuses on the study of the changes and stages of the artistic style of the portrait paintings in the tombs of the Tang Dynasty murals, especially the handmaids, and through the study of the images of the maids in the murals of the tombs of the Tang Dynasty, it corresponds to the literature. It can show the achievements of many painters in painting in this period. From the perspective of painting art, it can be concluded that the murals of the Tang Dynasty have inherited and developed the traditional painting techniques since the warring States, Wei and Jin dynasties, and absorbed the beneficial elements of foreign cultures. The Tang Dynasty mural art has reached the unprecedented mature prosperous stage conclusion. Based on the basic data of Tang Tomb murals in Guanzhong area, this paper discusses the maid images in Shaanxi Tang Tomb murals by stages, and mainly selects the arrangement of maids of Tang tombs mural paintings distributed in Shaanxi region, and studies on the images of maids of Tang tombs murals in Shaanxi Province. This paper sums up the styles and characteristics of various stages of female and handmaid paintings in Shaanxi Tang Tomb murals, analyzes them in combination with the literature, and compares them in the murals, and probes into them from the perspective of the history of painting art. The styles and techniques of leading figures such as Wu Dao-zi, Zhang Xuan and Zhou f reflect the painting style and artistic development of Chinese figure painting in Tang Dynasty. Put it in the painting history of Tang Dynasty to expound the significance of its art history. Through the study of tomb murals in every period of Tang Dynasty, it reflects the evolution of the mainstream style and aesthetic taste of Changan painting in Tang Dynasty. It provides a relatively accurate and effective basis for us to restore the painting appearance of Tang Dynasty and construct a more perfect and credible history of figure painting in Tang Dynasty. At the same time, it is of great significance for us to study the style, concept, technique and social culture of the figure painting of Tang Dynasty, which has reference value for our present creation of arts and crafts.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：K879.4;J218.6

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本文編號：2119118