本文選題：文藝復(fù)興　切入點：側(cè)面肖像　出處：《中國藝術(shù)研究院》2016年碩士論文　論文類型：學(xué)位論文

【摘要】：相對于平衡、對稱的正面形象描繪,物象的側(cè)面總是能夠激發(fā)觀者對于古老之物的永恒感受和豐富想象：法國拉斯科地區(qū)剪影化了的粗獷動物巖畫、古埃及人所熱衷的正面律、雅典時代精致的瓶繪、亞述帝國的浮雕、古代中國的帛畫與畫像磚等,皆以側(cè)面角度的人形或者動物圖形記錄先民對世界的感覺。側(cè)面像,因其識別性高、形式單純直接的優(yōu)勢,而成為人類早期不同文明不約而同采取的初始圖式。側(cè)面像出現(xiàn)的意義,不僅在于其在記錄人物具體形象的基礎(chǔ)上,將個體元素從共性符號中抽離；更重要的是它體現(xiàn)人類自我意識的早期覺醒。公元14世紀晚期到15世紀,純粹側(cè)面的肖像畫作為一種重要的肖像畫形式開始流行于意大利。有很多種因素都會影響一種繪畫風(fēng)格的產(chǎn)生和隱沒。文藝復(fù)興時期是現(xiàn)代人文主義的開端時期,也是寫實風(fēng)格繪畫與各種傳統(tǒng)造型語言互相影響較為密切的時期,藝術(shù)家從各種藝術(shù)門類中汲取創(chuàng)作觀念。在14世紀初到15世紀中的這段時間里,意大利的藝術(shù)擺脫了衰落停滯的狀態(tài),開始不停地吸收和創(chuàng)造新的形式。相比文藝復(fù)興盛期的繪畫,早期文藝復(fù)興繪畫更能代表意大利發(fā)展出來的本土美學(xué)價值,而側(cè)面肖像畫就是這種價值在繪畫上的直觀顯現(xiàn)。本文將側(cè)面肖像畫作為主要研究對象,以早期意大利文藝復(fù)興側(cè)面肖像畫作品為例,以形式語言分析為主要辦法,重點闡述風(fēng)格和形式語言之間的關(guān)系。在隨后的美術(shù)史進程中,不論是達維特的《賀拉斯兄弟的宣誓》,還是塞尚的《玩牌者》,側(cè)面人像繪畫這種樣式在后世藝術(shù)家的筆下不斷出現(xiàn)。雖然這種樣式語言所包含的語義在不斷地發(fā)展,但在變化的畫面內(nèi)容后面,一些潛在的組織與結(jié)構(gòu)形式一直反復(fù)的出現(xiàn)。側(cè)面像繪畫樣式以其獨特的形式,要求作畫者對畫面中所呈現(xiàn)的偶發(fā)與形式感、具象與抽象、寫實與概念保持某種平衡。在當(dāng)代西方美學(xué)思潮的影響下,具體研究側(cè)面像樣式的組織方式、語言特點和精神表達的聯(lián)系變得更有實踐意義。
[Abstract]:In contrast to balanced, symmetrical, positive images, the side of the image always inspires the viewer's timeless feelings and rich imagination of ancient objects: the silhouetted rock paintings of wild animals in the French Rasco region, the positive laws that the ancient Egyptians were keen on. The delicate bottle paintings of the Athens era, the relief of the Assyrian Empire, the ancient Chinese silk paintings and portraits, and so on, all recorded the feelings of the ancestors towards the world in the form of human or animal figures at the side angle. The side images were highly recognizable. The simple and direct advantage of form has become the initial schema adopted by different civilizations in the early period of mankind. The significance of the appearance of side image lies not only in the extraction of individual elements from the common symbols on the basis of recording the specific images of the characters; More importantly, it reflects the early awakening of human self-consciousness. As an important form of portrait painting, pure side portraits became popular in Italy. There are many factors that affect the emergence and invisibility of a painting style. The Renaissance was the beginning of modern humanism. It was also a period when realistic painting and various traditional modeling languages were closely related. Artists drew creative ideas from various artistic categories. During the period from the beginning of 14th century to the middle of 15th century, The art of Italy broke away from the state of decline and stagnation and began to absorb and create new forms. Compared with the paintings of the Renaissance, the early Renaissance paintings represented the local aesthetic values developed in Italy. The side portrait is the visual manifestation of this kind of value in painting. This paper takes the profile portrait as the main research object, takes the early Italian Renaissance side portrait as an example, and takes the formal language analysis as the main method. Focusing on the relationship between style and formal language. Whether it's Dawit's "the oath of the Horace brothers" or Cezanne's "the player of cards," this style of portraits is constantly emerging in the works of later artists. However, behind the changing picture content, some potential organizational and structural forms have been appearing repeatedly. In its unique form, the lateral image painting style requires the painter to have a sense of chance and form, concrete and abstract, as presented in the picture. Under the influence of contemporary western aesthetic thoughts, it is of practical significance to study the relationship among the organization mode, language characteristics and spiritual expression of the lateral image style.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J205

【相似文獻】

相關(guān)期刊論文 前9條

1 史峰;;畫側(cè)面像的日子[J];少年心世界;2012年01期

2 ;民國孫中山像銀幣價格表(參考價)[J];收藏界;2005年07期

3 ;典雅[J];寶藏;2007年03期

4 天昊;;你相信自己的眼睛嗎?[J];英語沙龍;1996年08期

5 馬伯庸;;大話中國馬[J];國家人文歷史;2014年03期

6 ;袁世凱像、龍鳳銀幣價格表(參考價)[J];收藏界;2005年05期

7 羅伯特·弗蘭克;;為什么硬幣上的人像都是側(cè)面[J];視野;2014年14期

8 李書磊;;一九五四年春夏一個文藝戰(zhàn)士的視野[J];書摘;2002年06期

9 ;[J];;年期

相關(guān)重要報紙文章 前1條

1 羅伯特·弗蘭克 康奈爾大學(xué)約翰遜管理學(xué)院經(jīng)濟學(xué)和管理學(xué)教授 《紐約時報》經(jīng)濟專欄特約評論員;生活中的經(jīng)濟學(xué)是如此有趣[N];消費日報;2014年

相關(guān)碩士學(xué)位論文 前1條

1 高華征;文藝復(fù)興時期的側(cè)面肖像畫研究[D];中國藝術(shù)研究院;2016年

，

本文編號：1582315