本文關(guān)鍵詞： 藏傳佛教 繪畫(huà) 色彩 唐卡　出處：《中央民族大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】："唐卡"是藏族繪畫(huà)藝術(shù)的一種體裁類(lèi)型,其構(gòu)圖造型非常別致,色彩運(yùn)用亦十分考究,是最具民族特色的繪畫(huà)藝術(shù)形式。其產(chǎn)生和形成根源于雪域高原特定的歷史文化因素以及民族宗教信仰土壤之中,形成了以反映佛教題材為主的兼具各類(lèi)題材"百科全書(shū)"圖畫(huà)。對(duì)其進(jìn)行深入研究,不僅需要掌握印度佛教的發(fā)展歷史及其基本教義,尚需掌握藏傳佛教各教派的理論儀軌,繪畫(huà)藝術(shù)的基礎(chǔ)理論知識(shí)。目前,唐卡繪畫(huà)藝術(shù)經(jīng)過(guò)前人的不斷努力和研究,對(duì)其造像,圖解,構(gòu)圖等各方面都已取得了空前的研究成果。但是關(guān)于唐卡的色彩顏料的應(yīng)用,顏色的調(diào)色,色彩的搭配,色彩的象征意義等方面進(jìn)行全面系統(tǒng)研究成果卻少之又少。色彩是繪畫(huà)語(yǔ)言的表現(xiàn)形式,是情感的符號(hào),精神的載體,不同的歷史時(shí)期,畫(huà)家對(duì)色彩的選擇和運(yùn)用也在不斷地演變。色彩作為繪畫(huà)藝術(shù)重要的物質(zhì)材料,是藝術(shù)語(yǔ)言構(gòu)成要素之一,更是作品獨(dú)特的思想和造像藝術(shù)手段。像表情藝術(shù)的節(jié)奏和語(yǔ)言藝術(shù)的詞匯一樣,色彩是構(gòu)成繪畫(huà)藝術(shù)形式美的重要因素,也是情感的最普及形式。在藝術(shù)領(lǐng)域中,色彩具有獨(dú)立的審美價(jià)值,色彩的豐富表現(xiàn)力和它所產(chǎn)生的感情力量,可以直接在藝術(shù)家和觀眾的心靈之間架起一道互相溝通的橋梁。色彩具有表現(xiàn)性、象征性、裝飾性和音樂(lè)性等特點(diǎn),這些特點(diǎn)是構(gòu)成繪畫(huà)豐富表現(xiàn)力的重要因素,其彼此之間不是孤立存在的,而是相互聯(lián)系的,在不同繪畫(huà)發(fā)展階段對(duì)色彩應(yīng)用也各有偏重,就是同一時(shí)期不同畫(huà)派及風(fēng)格也都有各自的特點(diǎn)。因此,本文也是選擇了藏族繪畫(huà)藝術(shù)唐卡的色彩為研究?jī)?nèi)容。論文的第一部分通過(guò)借助相關(guān)文本資料,分類(lèi)闡述了唐卡色彩顏料的來(lái)源、分類(lèi)及應(yīng)用加工方式。第二部分以繪畫(huà)量度和色彩理論為依據(jù),梳理論述了唐卡色彩配色規(guī)律、原則和特點(diǎn)及其象征意義。第三部分通過(guò)唐卡圖像比較研究,闡述了各畫(huà)派唐卡色彩風(fēng)格的基本特點(diǎn)。重點(diǎn)闡釋了藏區(qū)個(gè)畫(huà)派特點(diǎn)形成的周邊文化藝術(shù)的影響;第四部分分析歸納了唐卡色彩的藝術(shù)特點(diǎn)及意義,重點(diǎn)分析研究唐卡色彩的宗教性、文化性、藝術(shù)性、象征性、民族性、地域性等特點(diǎn)。力求通過(guò)系統(tǒng)研究藏族繪畫(huà)色彩的理論及其美學(xué)內(nèi)涵,使藏族傳統(tǒng)色彩藝術(shù)得以繼承弘揚(yáng),為現(xiàn)實(shí)社會(huì)生活美化服務(wù),為藏族美術(shù)學(xué)科研究添磚加瓦。
[Abstract]:"Tangka" is a genre of Tibetan painting art, its composition is very unique, the use of color is also very sophisticated. Is the most national characteristics of the art form of painting, its origin and formation originated from the snow plateau specific historical and cultural factors and national religious beliefs in the soil. The encyclopedia pictures, which mainly reflect the subject matter of Buddhism, are formed. To study them deeply, we should not only master the history of Indian Buddhism and its basic doctrines. It is still necessary to master the theoretical principles of various sects of Tibetan Buddhism and the basic theoretical knowledge of painting art. At present, Tangka painting art through the continuous efforts and studies of the predecessors, to its statues, graphics. Composition and other aspects have made unprecedented research results. But on the application of Tangka color pigments, color toning, color collocation. Color is the expression form of painting language, the symbol of emotion, the carrier of spirit, different historical period. As an important material material of painting art, color is one of the elements of art language. Like the rhythm of expression art and the vocabulary of language art, color is an important factor that constitutes the formal beauty of painting art. It is also the most popular form of emotion. In the field of art, color has its own aesthetic value, rich expressive power of color and the emotional power it produces. It can build a bridge of communication between the artist and the audience directly. Color has the characteristics of expressiveness, symbolism, decoration and musicality. These characteristics are the important factors that constitute the rich expressive power of painting. They are not isolated between each other, but are related to each other. In different stages of painting development, the application of color is also biased. Therefore, this article also chose the Tibetan painting art Tangka color as the research content. The first part of the paper through the help of relevant text materials. Classification elaborated the source, classification and application of Tangka color pigments. The second part is based on painting measurement and color theory, combing and discussing the rule of Tangka color matching. The third part, through the comparative study of Tangka images, expounds the basic characteristics of the color style of Tangka in various painting schools, and emphatically explains the influence of the surrounding culture and art formed by the characteristics of individual painting schools in Tibetan areas. Part 4th analyzes and summarizes the artistic characteristics and significance of Tangka color, focusing on the religious, cultural, artistic, symbolic and national characteristics of Tangka color. Through the systematic study of the theory of Tibetan painting color and its aesthetic connotation, the Tibetan traditional color art can be inherited and carried forward, and serve for the beautification of real social life. To contribute to the study of Tibetan fine arts.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J219

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