本文選題：明代人物畫(huà)　切入點(diǎn)：工筆人物畫(huà)　出處：《吉林大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：明代人物畫(huà)雖然不如同時(shí)期的山水、花鳥(niǎo)畫(huà)繁盛,但是在長(zhǎng)久的發(fā)展中,依舊積累了大量的寶貴財(cái)富和經(jīng)驗(yàn),對(duì)現(xiàn)代人物畫(huà)的創(chuàng)作和發(fā)展有一定的借鑒意義。繪畫(huà)的發(fā)展,與所處時(shí)代的社會(huì)環(huán)境有著密切的聯(lián)系,尤其是被統(tǒng)治階級(jí)所重視的人物畫(huà)。明朝的盛衰與明代人物畫(huà)發(fā)展變化的三個(gè)階段基本相互對(duì)應(yīng)。通過(guò)研究每個(gè)階段的特點(diǎn),尋找它們的共性,從而得出結(jié)論,即明代人物畫(huà)的藝術(shù)特色。明代早期的宮廷人物畫(huà)顯示出鮮明的御用美術(shù)性質(zhì),這點(diǎn)比往代要表現(xiàn)的更為強(qiáng)烈,并流露出較多的民間美術(shù)特色;“浙派”的人物畫(huà)具有濃郁的生活氣息,畫(huà)風(fēng)工細(xì)嚴(yán)謹(jǐn)?shù)耐瑫r(shí)又有奔放剛硬的氣質(zhì);明代中期的人物畫(huà)家大多受到文人畫(huà)的影響,畫(huà)風(fēng)既有“院體”的工整嚴(yán)謹(jǐn),又融入了文人畫(huà)的筆墨意趣,呈現(xiàn)一種相融合的風(fēng)格;晚明之時(shí)的人物畫(huà)風(fēng)格呈現(xiàn)出變形和寫(xiě)實(shí)的兩極化傾向,前者以丁云鵬和吳彬的道釋畫(huà)還有“南陳北崔”的變形畫(huà)風(fēng)為主,后者以曾鯨及其“波臣派”的寫(xiě)實(shí)肖像畫(huà)為主。總的來(lái)說(shuō),明代人物畫(huà)從形式上看,每個(gè)時(shí)期的人物畫(huà)都呈現(xiàn)出不同的風(fēng)格特色,但在內(nèi)容上,呈現(xiàn)出兩個(gè)特點(diǎn),第一個(gè)特點(diǎn)就是人物畫(huà)呈現(xiàn)出山水人物畫(huà)的傾向,許多人物畫(huà)中的背景所占比重相較往朝的人物畫(huà)來(lái)說(shuō)要大很多,但又不同于一般山水畫(huà)中的點(diǎn)景人物,人物刻畫(huà)較為細(xì)致,有人物畫(huà)的特征。第二個(gè)特點(diǎn)可以用一個(gè)“俗”字概括,這個(gè)“俗”并不是低俗,而是民俗、通俗更是世俗,是一種生活化、平民化的審美取向。明代人物畫(huà)雖呈現(xiàn)出衰落的態(tài)勢(shì),但它在中國(guó)人物畫(huà)史中起到承上啟下的重要作用,對(duì)清代人物畫(huà)的發(fā)展有著重要影響,對(duì)今人也有一定的借鑒意義。
[Abstract]:Figure painting of the Ming Dynasty as the same period of the landscape, flower and bird painting flourished, but in the long term development, still has accumulated precious wealth and experience, have certain reference significance to the creation and development of modern painting. The development of painting is closely related to the era of social environment, especially the ruling class was valued by the painting. The three stages of the Ming Dynasty and the Ming Dynasty and the development and change of the basic figures correspond to each other. By studying the characteristics of each stage, to find their similarities, thus draws the conclusion, namely the figure painting of the Ming Dynasty painting art characteristics. In the early Ming Dynasty imperial court figure shows distinctive nature of art this, than to the generation to the performance of the more intense, and showed more folk art features; "zhe" painting with rich flavor of life, works fine style and rigorous Ben put rigid gas Quality; in the middle of Ming Dynasty painter mostly affected the literati painting style, both "the courtyard body" neat rigorous and into the literati paintings charm, showing a combination of style; the late Ming Dynasty when the painting style emerged and realistic deformation of polarization, deformation style of the former Ding Yunpeng Wu Bin and Taoism painting and the "South North Cui Chen", the latter by Zengjing and "bochen school" realistic portraits. In general, figure painting of the Ming Dynasty from the perspective of the form, each period of the painting shows different style, but in content, showing two features, the first feature is showing a tendency to figure painting landscape painting, figure painting in the background for many compared to the proportion in figure painting should be large, but different from the general landscape point of view characters, characters depicted in detail, Figure painting characteristics. The second characteristics can be summed up with a "vulgar", the "vulgar" is not vulgar, but folk, popular is secular, is a kind of life, the aesthetic orientation of civilian figure painting of the Ming Dynasty. Although showing a decline trend, but it is in the Chinese figure painting play an important role, has an important influence on the development of the Qing Dynasty painting, and also has certain reference significance for us.

【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J212

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本文編號(hào)：1640949