本文選題：改琦與比亞茲萊　切入點(diǎn)：比較研究　出處：《河南師范大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：古今中外，，女性一直是畫(huà)家們偏好的繪畫(huà)題材，中國(guó)清朝仕女畫(huà)家改琦與英國(guó)頹廢主義藝術(shù)家比亞茲萊都是女性繪畫(huà)題材的個(gè)中翹楚，他們同樣為文學(xué)作品繪制插圖。改琦選擇了《紅樓夢(mèng)》比亞茲萊選擇了《莎樂(lè)美》。兩位畫(huà)家被兩個(gè)作者打動(dòng)，創(chuàng)作了經(jīng)典的黑白插圖作品。這些插圖作品中的女主角都是女性，改琦所做的《紅樓夢(mèng)圖詠》中描畫(huà)的是多個(gè)女性形象，雖然她們呈現(xiàn)在紙上的形態(tài)各異、性格不同，但她們都是弱柳扶風(fēng)的深閨淑女，有著相似的憂(yōu)郁氣質(zhì)。比亞茲萊所繪制的《莎樂(lè)美》插圖中，女性主角只有莎樂(lè)美一人，且在作品中多次重復(fù)出現(xiàn)，但是絲毫都沒(méi)有給人沉悶重復(fù)的感覺(jué)。莎樂(lè)美的每次出場(chǎng)都帶給我們驚喜，比亞茲萊用嫻熟的技法把莎樂(lè)美這一妖媚、誘惑的女性形象淋漓盡致的展現(xiàn)在觀(guān)者的面前。雖然這兩種經(jīng)典的女性形象一個(gè)憂(yōu)郁、一個(gè)妖冶，但是細(xì)細(xì)思索這兩種女性形象，都帶有不同程度的病態(tài)美。這無(wú)疑是末世背景下產(chǎn)生的不太健康的審美觀(guān)，但這種略帶病態(tài)的女性形象是那個(gè)時(shí)代所特有的。這種散發(fā)著獨(dú)特魅力的女性美，成為女性繪畫(huà)藝術(shù)史中清晰而獨(dú)特的坐標(biāo)。 本文依托18世紀(jì)到19世紀(jì)中國(guó)和英國(guó)的時(shí)代背景，研究他們?yōu)楹芜x擇為書(shū)作畫(huà)，成就經(jīng)典的女性形象，以及他們繪畫(huà)中女性形象產(chǎn)生的原因、異同，和二位畫(huà)家創(chuàng)作黑白裝飾畫(huà)所運(yùn)用繪畫(huà)語(yǔ)言的特點(diǎn)。本文共分為四個(gè)大章節(jié)，第一章分別從社會(huì)時(shí)代背景和人生經(jīng)歷入手來(lái)探討改琦與比亞茲萊的藝術(shù)歷程；第二章講述兩人因何分別選擇了《紅樓夢(mèng)》與《莎樂(lè)美》為描畫(huà)對(duì)象的，改琦與作者相似的人生經(jīng)歷而選擇了描繪《紅樓夢(mèng)圖詠》，比亞茲萊因?yàn)榕c作者相似的藝術(shù)主張而選擇了《莎樂(lè)美》。第三章是不同審美取向下的女性形象，行將就木的封建末世王朝對(duì)女性的壓抑形成了特有的弱柳扶風(fēng)的憂(yōu)郁女性美。世紀(jì)末的女性主義運(yùn)動(dòng)對(duì)男權(quán)的反抗，使男性對(duì)女性有了既愛(ài)又懼的心理，才產(chǎn)生了妖媚誘惑的莎樂(lè)美。改琦用削肩長(zhǎng)頸、嫻雅輕盈、弱柳扶風(fēng)來(lái)表現(xiàn)憂(yōu)郁，比亞茲萊用充滿(mǎn)象征性的繪畫(huà)語(yǔ)言來(lái)暗示妖女的邪惡、魅惑。第四章從兩人對(duì)線(xiàn)和黑白塊面的繪畫(huà)語(yǔ)言運(yùn)用，來(lái)表現(xiàn)著這兩種病態(tài)的悲劇女性美。
[Abstract]:At all times and at home and abroad, women have always been the subject of paintings preferred by painters. In the Qing Dynasty, female painters changed Qi and British decadent artists were among the leading artists in women's paintings. They also painted illustrations for literature. Gucci chose A Dream of the Red Mansion, Biazley chose Salome. The two painters were impressed by the two authors and created classic black and white illustrations, in which the heroines were women. "A Dream of Red Mansions" depicts a number of female images in Gaiqi's "A Dream of Red Mansions". Although they have different shapes and different personalities on the paper, they are all ladies with weak willows and strong winds. There is a similar melancholy temperament. In the illustrations of Salome by Biazley, the female protagonist is Salome alone and repeated in the work many times. But it didn't feel dull and repetitive at all. Salome's every appearance surprised us, and Biazley used his skillful technique to seduce Salome. The seductive female image is vividly displayed in front of the viewer. Although the two classic female images are one melancholy and one evil, but think carefully about these two female images, They all have different degrees of morbid beauty. This is no doubt an unhealthy aesthetic in the eschatological context, but this slightly morbid female image is unique to that era. This feminine beauty, which exudes its unique charm, To become a clear and unique coordinate in the history of female painting art. Based on the background of Chinese and British times from 18th century to 19th century, this paper studies why they chose to paint for books and achieved classic female images, as well as the causes, similarities and differences of the female images in their paintings. This paper is divided into four chapters. The first chapter discusses the artistic course of Gaiqi and Biazley from the background of the social times and the life experience. The second chapter tells why the two people chose "Dream of Red Mansions" and "Salome", respectively. Gaiqi chose to depict A Dream of Red Mansions because of his similar life experience, and Biazley chose Salome because of his similar artistic ideas. Chapter three is about the female images under different aesthetic orientations. The oppression of women by the dying feudal dynasties formed the melancholy feminine beauty of the weak willow wind. The resistance of feminism to male power at the end of the century made men have both love and fear for women. The seductive Salome, whose shoulders and long necks, elegance and lightness, weak willow wind, and Biarzleh, in symbolic drawing language, hinted at the evil of the genie, was born of the seductive seduction of Salome, with her shoulders and long necks, elegance and lightness, and weak willow winds to express his melancholy. Chapter 4th shows the two morbid tragic feminine beauty from the use of the painting language of line and black and white.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J218.5

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 何延U

本文編號(hào)：1582060