【摘要】：受青銅器器物造型制約與局限,人物畫像紋飾在圓柱體器物上為上下層疊環(huán)帶狀布局與構(gòu)圖;在圓面形器物上為內(nèi)外層疊環(huán)帶狀布局與構(gòu)圖;在方柱體器物上則分為獨(dú)立的畫面進(jìn)行上下分層布局與構(gòu)圖。為了克服器物造型對(duì)紋飾畫幅的制約與局限,青銅器人物畫像紋飾往往在狹小的畫幅空間中表達(dá)多個(gè)繪畫主題,或在一個(gè)繪畫主題中,表達(dá)多個(gè)相關(guān)情節(jié)場(chǎng)景,以增加裝飾紋樣內(nèi)容的豐富性。
[Abstract]:Restricted and limited by the modeling of bronze utensils, the figure portraits are decorated on the cylindrical objects for the upper and lower layer stacked ring banded layout and composition; on the circular surface objects, for the inner and outer layer stacked ring banded layout and composition; on the square cylinder utensils, they are divided into independent pictures for upper and lower layering layout and composition. In order to overcome the restriction and limitation of artifact modeling on decorative painting, bronze figure portrait ornaments often express multiple painting themes in narrow painting space, or express multiple related plot scenes in one painting theme, in order to increase the richness of decorative pattern content.
【作者單位】： 南陽(yáng)師范學(xué)院美術(shù)與藝術(shù)設(shè)計(jì)學(xué)院;
【分類號(hào)】：K876.41

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1 李軍強(qiáng);;淺析東周青銅器上的人物畫像紋飾反映的生活場(chǎng)景[J];金田(勵(lì)志);2012年09期

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