本文選題：唐代乾陵　切入點(diǎn)：翁仲石刻　出處：《西安美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本文由唐乾陵翁仲石刻造像(又名直閣將軍或持劍石人,亦或持節(jié)杖的使節(jié))入手,研究其直立造型形式因素。論文分為五章,第一章為《乾陵翁仲石刻造像的基本造型形式》,簡要概述何謂“翁仲”;乾陵翁仲石刻的基本造型形式與來源分析,及中國古代陵墓雕塑發(fā)展對唐乾陵石刻造像的影響。第二章為《乾陵翁仲石刻直立造型形式中模件化規(guī)�；c個(gè)性化因素》,借用著名德國漢學(xué)家雷德侯《萬物》里“中國藝術(shù)中的模件化和規(guī)�；a(chǎn)”理論,分析研究乾陵翁仲石刻造像整體直立造型的模件化(模式化)、規(guī)�；皞�(gè)體局部個(gè)性化問題;第三章為《乾陵翁仲石刻直立造型形式中生物學(xué)因素》,本章從生物學(xué)進(jìn)化論角度分析探討整體直立造型形式中,涉及向上生長和有關(guān)人類直立的生物學(xué)因素。分別就植物性“向上”生長的趨勢與動(dòng)物中人直立行走的進(jìn)化論觀點(diǎn)進(jìn)行論述;第四章是《乾陵翁仲直立造型形式中“建構(gòu)主義”心理學(xué)因素》,在本章中,運(yùn)用著名瑞士兒童心理學(xué)家讓·皮亞杰的“建構(gòu)主義”理論,論述人類心理學(xué)在“直立”造型形式中的作用。通過對類似乾陵翁仲石刻“直立”造型形式在世界各地古代藝術(shù)遺存中的普遍存在和對比分析,反思心理學(xué)在人類造型藝術(shù)等方面的共性作用。并由此擴(kuò)展,“直立”造型形式在中外現(xiàn)代生活中的普遍性,以及“建構(gòu)主義(認(rèn)識(shí)發(fā)生論)”心理學(xué)對世界藝術(shù)解讀的意義,這是本文的重點(diǎn)章節(jié);論文第五章《乾陵翁仲石刻直立造型形式中建筑學(xué)因素簡析》,該章主要從以往已有的建筑造型因素論及,因雕塑與建筑的密切關(guān)系,在傳統(tǒng)藝術(shù)美學(xué)中前人早已有廣泛深入的闡釋,故在本文中不再過多贅述。
[Abstract]:This paper begins with the stone sculptures of Wengzhong in the Qianling of the Tang Dynasty (also known as General Zhige, the swordstone bearer, or the envoy holding the stick), and studies the formal factors of its upright modeling. The paper is divided into five chapters. The first chapter is "the basic modelling form of the stone carvings of Wengzhong in Qianling", which briefly outlines what is "Wengzhong", the basic modeling form and source analysis of the stone carvings of Wengzhong in Qianling, And the influence of the development of ancient mausoleum sculptures on the stone sculptures of Qianling Qianling. The second chapter is "the factors of Modularization and Personalization in the Vertical Modeling of the Stone carvings of Wengzhong Qianling", borrowing from the famous German Sinologist Lei Dehou. "Modularization and Large-scale production in Chinese Art", This paper analyzes and studies the modularization of the whole vertical modeling of the stone carvings of Wengzhong Qianling. The third chapter is "Biological factors in the upright modeling form of Wengzhong stone carving in Qianling". This chapter analyzes and discusses the whole upright modeling form from the angle of biological evolution. This paper deals with the biological factors related to upward growth and human orthotropia. The trend of plant "upward" growth and the evolutionary view of human upright walking in animals are discussed respectively. Chapter 4th is "the psychological factor of constructivism" in the vertical modeling of Wengzhong in Qianling. In this chapter, the author uses the "constructivism" theory of famous Swiss child psychologist Jean Piaget. This paper discusses the role of human psychology in the "upright" modeling form. Through the analysis of the universal existence and comparative analysis of the similar "upright" modeling form of Wengzhong stone carvings similar to Qianling in ancient art relics all over the world, Reflecting on the common role of psychology in human plastic arts and so on, and thus expanding, the universality of "upright" modeling form in modern life at home and abroad, and the significance of "constructivism" psychology to the interpretation of world art, This is the key chapter of this paper, Chapter 5th, "A brief Analysis of Architectural factors in the Vertical Modeling form of Wengzhong Stone carving in Qianling," which is mainly discussed from the previous architectural modeling factors, due to the close relationship between sculpture and architecture. In the traditional art aesthetics, the predecessors have already explained extensively and deeply, so it is not too much in this article.
【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】：2017
【分類號】：J314.3

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本文編號：1613601