本文選題：宮廷繪畫(huà) + 重彩人物畫(huà)��； 參考：《沈陽(yáng)大學(xué)》2017年碩士論文

【摘要】：在中國(guó)繪畫(huà)史上,宮廷繪畫(huà)是繪畫(huà)史中重要的組成部分,到兩宋時(shí)期達(dá)到高峰,但是衰敗在元明兩朝,到了清代又開(kāi)始呈現(xiàn)復(fù)蘇現(xiàn)象。復(fù)蘇的主要原因是帝王對(duì)宮廷繪畫(huà)的重視程度大大加快,再者又有西方傳教士畫(huà)家加入宮廷畫(huà)院,一大批市野上繪畫(huà)高手被皇家畫(huà)院廣泛大量錄用,從此繁華了清代宮廷繪畫(huà)藝術(shù)。在清代宮廷繪畫(huà)中,雍正《十二美人圖》其就是由清代初期宮廷繪畫(huà)家所創(chuàng)作的工筆重彩人物畫(huà),總共有十二幅,包括:《倚門觀竹》《觀書(shū)沉吟》《立持如意》《持表對(duì)菊》《消夏賞蝶》《博古幽思》《捻珠觀貓》《燭下縫衣》《烘爐觀雪》《倚榻觀雀》《桐蔭品茶》《裘裝對(duì)鏡》。每幅的尺寸都一樣,都長(zhǎng)184厘米,寬98厘米,都繪畫(huà)在質(zhì)量精美的絹帛上,人物都是真人大小,并且都是一幅畫(huà)一個(gè)人的形式,各自描繪了身穿漢服的宮廷女子觀書(shū)、品茶、沉吟、倚榻、觀蝶等悠閑的生活情景,蔚為可觀。《十二美人圖》帶給我們的不僅是圖像上美的享受,其中包含種種細(xì)節(jié),都是書(shū)畫(huà)研究者們所津津樂(lè)道的。本論文通過(guò)研究雍正《十二美人圖》,此圖曾裝飾在雍親王時(shí)期圓明園深柳讀書(shū)堂中的屏風(fēng)上,迄今為止,雖然經(jīng)歷三百多年,畫(huà)中美人依舊嫻雅溫婉,她們有的持表對(duì)菊、有的裘裝對(duì)鏡——在工筆重彩的寫實(shí)描繪中,我們好像看到那時(shí)的四季變化,草木興衰,室內(nèi)陳設(shè)精致,服飾優(yōu)雅。系統(tǒng)地講述其繪畫(huà)語(yǔ)言和風(fēng)格在造型中頭飾、服裝的花樣紋絡(luò)、耳際發(fā)梢的華翠、家具文房用品和園林環(huán)境中的裝飾美。本課題的提出,通過(guò)品讀雍正《十二美人圖》作品繪畫(huà)語(yǔ)言和風(fēng)格的裝飾美,以及作品中的人物頭飾、服飾中的圖案、家具、文房用品、園林環(huán)境、家居背景等的裝飾美,進(jìn)行分析清中期的精致典雅之氣在人物畫(huà)中的體現(xiàn),以及同時(shí)期西方寫實(shí)主義繪畫(huà)風(fēng)格對(duì)宮廷繪畫(huà)的影響,來(lái)感悟清代宮廷繪畫(huà)的裝飾美和中國(guó)畫(huà)的裝飾性藝術(shù),對(duì)于畫(huà)面的構(gòu)圖、色彩、線條以及是否存在西方的構(gòu)成關(guān)系進(jìn)行系統(tǒng)研究,進(jìn)一步更深層次的感悟清代宮廷繪畫(huà)無(wú)處不在的裝飾美。
[Abstract]:In the history of Chinese painting, court painting is an important part of the history of painting, reached a peak in the Song Dynasty, but declined in the Yuan and Ming dynasties, and then began to recover in the Qing Dynasty. The main reason for the revival was that the emperors paid much more attention to the court painting. Moreover, some Western missionaries and painters joined the court painting institute. A large number of market field painters were widely employed by the Royal Academy of painting. From then on, the Qing Dynasty court painting art flourished. In the court painting of the Qing Dynasty, Yongzheng's painting of the Twelve Beauties was the meticulous painting of the fine brushwork painted by the court painters in the early Qing Dynasty, with a total of twelve paintings. Including: < watching bamboo by door > < reading and pondering > < standing contentedly; < holding chrysanthemum; < spending summer and appreciating butterfly; < Boguyou thought; < watching cat with twisting beads; < sewing clothes under candle; < watching snow under candle; < watching on bed; < tasting tea with Tong shade; < fitting mirror of fur]. Each of them is the same in size, 184 cm long and 98 cm wide. They are painted on silk and silk of exquisite quality. The characters are all life-size, and they are all in the form of a painting of one person, each depicting a court woman wearing a Han suit for reading books and tasting tea. The idleness of life, such as sitting on a couch and watching butterflies, is remarkable. The picture of the twelve beauties brings us not only the enjoyment of beauty on the image, but also the details which the researchers of calligraphy and painting are fond of talking about. Through the study of Yongzheng's Chronicles of the Twelve Beauty, this picture was decorated on the screen in the Old Summer Palace Shenliu Reading Hall in the reign of Prince Yong. Up to now, although after more than 300 years of experience, the beauty in the painting is still elegant and gentle, and some of them hold the symbol of chrysanthemum. In the realistic depiction of meticulous brushwork, we seem to see the four seasons change, the rise and fall of vegetation, the exquisite furnishings of the interior, and the elegance of the dress. This paper systematically describes its painting language and style in the modeling of the headdress, the pattern of clothing, the ears of the flower hair, furniture, stationery and garden environment in the decorative beauty. This subject is put forward by reading the decorative beauty of the painting language and style in Yongzheng's works, as well as the decorative beauty of the characters' headdress, the pattern in the dress, the furniture, the stationery, the garden environment, the home background, etc. This paper analyzes the embodiment of exquisite elegance in figure painting in the middle of Qing Dynasty, and the influence of Western realism painting style on court painting in the same period, in order to understand the decorative beauty of court painting in Qing Dynasty and the decorative art of Chinese painting. For the picture composition, color, lines and whether there is a Western composition of the relationship, further deeper understanding of the Qing Dynasty court painting everywhere decorative beauty.
【學(xué)位授予單位】：沈陽(yáng)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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