本文選題：人物繪畫(huà)　切入點(diǎn)：本體理論　出處：《南京師范大學(xué)》2015年博士論文　論文類(lèi)型：學(xué)位論文

【摘要】：唐代及其前期人物繪畫(huà)的本體理論主要是指這一時(shí)期基于人物繪畫(huà)的審美心性和生命體征而生成的切入藝術(shù)本體的認(rèn)識(shí)論和方法論。因?yàn)樘拼捌淝捌谑侵袊?guó)古典人物繪畫(huà)的建構(gòu)時(shí)期,這一階段人們的認(rèn)識(shí)論和審美論多生發(fā)于對(duì)人的生命性、宇宙性及本體性的闡釋和思考,其目的是希望把人的審美心性與宇宙的天性、神性以及自然屬性融為一體,這種觀念構(gòu)成了古代早期人物繪畫(huà)的本體價(jià)值。本文通過(guò)理論考釋與實(shí)踐論證的研究方式,試圖對(duì)這些本體理論進(jìn)行梳理、總結(jié)、完善和補(bǔ)遺,其與美術(shù)史注重歷史線索的研究方式有所區(qū)別。從古代的畫(huà)史和畫(huà)論來(lái)看,唐代及其前期的人物繪畫(huà)理論多是基于一定社會(huì)的審美思辨而形成的本體性認(rèn)識(shí),如“道”、 “氣”、“象”、“形”、“神”、“玄”、“虛”、“妙”、“逸”等,這些范疇在唐及先唐的不同時(shí)期構(gòu)成了人物繪畫(huà)的神性論、審美論、命題論、評(píng)鑒創(chuàng)作論和方法論等,這些理論多是拋開(kāi)了人物繪畫(huà)的記事性、技法性甚至功能性而直接切入藝術(shù)的審美本源和價(jià)值本體,圍繞著宇宙、天人、氣韻、心源等萬(wàn)物的本體屬性而展開(kāi)的認(rèn)識(shí),其也多成為唐代以后繪畫(huà)藝術(shù)的祖法、祖論和祖格。神性價(jià)值論是基于原始藝術(shù)中的“萬(wàn)物有靈論”和“神性崇拜”而提出的,其構(gòu)成了人物繪畫(huà)的觀念之源,其所給予的信仰歸屬和靈魂依附也是我們現(xiàn)代人無(wú)法完全感知的,但其作為開(kāi)蒙之論,對(duì)后世的影響卻不言而喻。先秦時(shí)期,《周禮》思想對(duì)人物繪畫(huà)影響甚廣,到了兩漢,道家、儒家思想成為人物繪畫(huà)的價(jià)值依托,尤其是“道”的本體論也成為藝術(shù)的本體所在,由“道”所生發(fā)的形神論與元?dú)庹摮蔀闈h代人物繪畫(huà)的觀念主構(gòu)。魏晉南北朝時(shí)期,出現(xiàn)了完整意義上的人物畫(huà)論,其在評(píng)鑒論、創(chuàng)作論以及命題論上為人物畫(huà)創(chuàng)作指明了途徑。唐代是中國(guó)早期人物繪畫(huà)的輝煌時(shí)期,其延續(xù)六朝余脈,在人物繪畫(huà)創(chuàng)作、評(píng)鑒以及審美等方面都構(gòu)成了古代人物繪畫(huà)理論的經(jīng)典。這些認(rèn)識(shí)、觀念、思想多是跳出人物繪畫(huà)的社會(huì)性、世俗性和技法特征來(lái)談的,從本質(zhì)意義上說(shuō)都具有著藝術(shù)理論的本體價(jià)值。本論文立足于唐代及其前期人物繪畫(huà)的本體理論研究,對(duì)人物繪畫(huà)在這一時(shí)期不同階段的審美形態(tài)與觀念形態(tài)進(jìn)行分析、考釋、歸納和論述,并結(jié)合一定時(shí)代的繪畫(huà)創(chuàng)作來(lái)對(duì)這些觀念進(jìn)行論證與總結(jié),以期能對(duì)人物繪畫(huà)的古典理論做一些深度的探賾與解讀。
[Abstract]:The Noumenon Theory of the Tang Dynasty and its Prophase figure painting mainly refers to the epistemology and methodology of the artistic Noumenon based on the aesthetic heart and vital signs of the figure painting in this period, because the Tang Dynasty and its early period are ancient China. The period of construction of classical figure painting, In this stage, people's epistemology and aesthetic theory come from the interpretation and thinking of human's life, cosmos and Noumenon, the purpose of which is to combine the aesthetic mind of man with the nature, divinity and nature of the universe. This concept constitutes the Noumenon value of early ancient figure painting. This paper attempts to sort out, summarize, perfect and supplement these Noumenon theories by means of theoretical research and practical argumentation. From the view of ancient painting history and painting theory, most of the painting theories of Tang Dynasty and its early period are based on the aesthetic speculation of a certain society. For example, "Tao", "Qi", "Xiang", "form", "God", "metaphysics", "empty", "Miao", "Yi" and so on. These categories constituted the divinity theory, aesthetic theory, propositional theory, evaluation creation theory and methodology of character painting in different periods of Tang and pre-Tang dynasties. Most of these theories are the understanding of the Noumenon attributes of all things, such as universe, heaven and man, charm, heart, etc., which directly cut into the aesthetic origin and value ontology of art without putting aside the chronology, technique and even function of character painting. It also became the ancestor law of painting art after Tang Dynasty, and the theory of ancestor and Zug.Theological value theory was put forward on the basis of "animism of all things" and "worship of God" in primitive art, which constituted the source of the concept of character painting. The belief and soul attachment it gives us cannot be fully perceived by modern people, but its influence on later generations is self-evident. In the pre-Qin period, the thought of "Zhou Li" had a very wide influence on the painting of characters, until the Han Dynasty, Taoism, Confucianism has become the value of character painting, especially the ontology of "Tao" also become the Noumenon of art, from the "Tao" born from the theory of form and spirit and spirit theory become the main concept of the Han Dynasty. Wei, Jin, Southern and Northern dynasties, The theory of character painting in the whole sense has pointed out the way for the creation of figure painting in evaluation theory, creation theory and proposition theory. The Tang Dynasty was the glorious period of Chinese early figure painting, which continued the remaining veins of the six dynasties and created the figure painting. Evaluation and aesthetics constitute the classics of ancient character painting theory. Most of these cognition, ideas and thoughts are discussed out of the social, secular and technical characteristics of character painting. This thesis is based on the study of the Noumenon Theory of the Tang Dynasty and its early stage of character painting, and analyzes and explains the aesthetic and conceptual forms of the figure painting in different stages of this period. It is concluded and discussed, and combined with the painting of a certain period of time to demonstrate and summarize these concepts, in order to do some deep exploration and interpretation of the classical theory of character painting.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J212
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本文編號(hào)：1562364