【摘要】： 在中國(guó)藝術(shù)史的長(zhǎng)河中,漢代是馬的藝術(shù)形象出現(xiàn)最多的時(shí)期。漢馬的藝術(shù)折射出漢帝國(guó)朝氣蓬勃,雄強(qiáng)自信的時(shí)代精神;在對(duì)漢馬形象進(jìn)行的研究中,多數(shù)學(xué)者從考古學(xué)、歷史學(xué)和民俗學(xué)的角度進(jìn)行分析研究。而從美術(shù)學(xué)的基本角度來考察分析漢馬藝術(shù)形象及其價(jià)值的研究相對(duì)比較缺乏。 本文針對(duì)不同漢馬形象進(jìn)行了較為系統(tǒng)的類型整理和客觀論述,通過大量圖像的比較研究、參閱文獻(xiàn)典籍、考古圖像資料,對(duì)漢馬藝術(shù)的風(fēng)格特征、圖像來源及美學(xué)特征進(jìn)行較為深入的探討和結(jié)論,初步揭示了漢馬形象質(zhì)樸雄強(qiáng)的美學(xué)價(jià)值。 通過對(duì)漢代馬的藝術(shù)研究,筆者提出對(duì)漢馬藝術(shù)認(rèn)知的七個(gè)概念:1曠美稚拙的原始遺風(fēng)。2激揚(yáng)飛越的運(yùn)動(dòng)張力。3醒目強(qiáng)烈的剪影效果。4流美浪漫的楚風(fēng)遺韻。5古樸典雅的裝飾趣味.6雄強(qiáng)渾厚的寫意精神.7飛動(dòng)圓轉(zhuǎn)的線描造型。 它們是本文的核心理念。本文希冀提出這樣的觀點(diǎn),即漢馬不單是一種動(dòng)物畫,它在漢代具有特殊的符號(hào)意義、審美形態(tài)和文化背景;它是一個(gè)文化現(xiàn)象和特殊的審美對(duì)象,它所具有的內(nèi)涵遠(yuǎn)遠(yuǎn)超出了一般動(dòng)物形象,是漢代帝國(guó)開疆拓土自信與強(qiáng)大精神的象征,對(duì)漢馬藝術(shù)的價(jià)值需要新予以界定。 研究藝術(shù)圖像,并不只是從圖像出發(fā)再回到圖像,其涉及面非常廣泛,而對(duì)藝術(shù)形式的研究是美術(shù)學(xué)的方法和觀念。本文同時(shí)借鑒其它學(xué)科的知識(shí)來補(bǔ)充分析,追溯脈絡(luò),厘清原委,對(duì)漢馬形象進(jìn)行多方分析之后著眼于漢馬藝術(shù)的造型特點(diǎn)及形式規(guī)律,力求對(duì)漢馬藝術(shù)有較為全面的分析總結(jié)。漢馬有別于其他類型的藝術(shù)面貌和審美意蘊(yùn),其外在的組織結(jié)構(gòu)、藝術(shù)語言和物質(zhì)材料表現(xiàn)出漢代藝術(shù)的多樣性和復(fù)雜性。本文選取多種不同形式的漢馬形象對(duì)其比較與分類,不同材質(zhì)與表現(xiàn)方式選取最具代表性的圖像,將文本與圖像結(jié)合論述,力求圖文并茂,豐富詳實(shí)。
[Abstract]:In the long river of Chinese art history, Han Dynasty was the period when Ma's artistic image appeared most frequently. The art of Han and Ma reflects the vigorous and confident spirit of the Han Empire. In the study of the image of Han and Ma, most scholars analyze and study it from the perspective of archaeology, history and folklore. However, the research on the artistic image and its value of Han and Ma is relatively lacking from the basic angle of art science. This article has carried on the comparatively systematic type arrangement and the objective discussion to the different Han and horse image, through the massive image comparison research, consult the literature classics, the archaeological image material, to Han and Ma art style characteristic, The origin and aesthetic characteristics of the images are discussed and concluded, which reveals the aesthetic value of the Han and Ma images. Through the study of the art of horses in the Han Dynasty, The author puts forward seven concepts to the artistic cognition of Han and ma: 1 the primitive style of Kuangmei, 2) the movement tension of overflight, 3) the striking and strong silhouette effect, 4) the romantic charm of the Chu style, 5) the simple and elegant decorative taste. Thick freehand brushwork spirit. 7 flying around the line shape. They are the core ideas of this paper. This paper hopes to put forward the view that Han horse is not only a kind of animal painting, it has special symbolic meaning, aesthetic form and cultural background in Han Dynasty, it is a cultural phenomenon and a special aesthetic object. It has the connotation far beyond the general animal image, is the Han Dynasty empire frontier self-confidence and the strong spirit symbol, the Han and the horse art value needs to be newly defined. The study of art image is not only from the image back to the image, it involves a wide range of aspects, and the study of art form is the art method and concept. At the same time, this paper uses the knowledge of other disciplines for reference to supplement the analysis, trace back the context, clarify the origin, analyze the images of Han and Ma in many ways, and focus on the modeling characteristics and formal rules of Han and Ma art. Strive for a more comprehensive analysis and summary of Han and horse art. Han and Ma are different from other types of art appearance and aesthetic implication, its external organization structure, artistic language and material materials show the variety and complexity of Han Dynasty art. This paper selects a variety of different forms of Han and horse images to compare and classify, different materials and ways of expression to select the most representative image, text and image combined to discuss, strive to be rich and detailed.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：K879.4;J209.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 石亞鳳;中國(guó)早期藝術(shù)中的馬[D];蘇州大學(xué);2012年

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本文編號(hào)：2262175