本文選題：景德鎮(zhèn)釉上人物畫(huà)　切入點(diǎn)：南昌瓷板畫(huà)　出處：《江西科技師范大學(xué)》2013年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：江西地域文化有著悠久而燦爛的歷史，其中，南昌瓷板畫(huà)就是杰出的文化代表符號(hào)之一。以手工藝制品形式存在的南昌瓷板畫(huà)，具有觀賞性、紀(jì)念性及商品流通性，蘊(yùn)含深厚的中華傳統(tǒng)人文精神，所宣揚(yáng)的仁義禮智信、溫良恭儉讓、尊老愛(ài)幼孝親等等美德風(fēng)尚，至今具有移風(fēng)易俗、升華倫理關(guān)系的教化力量和普世價(jià)值。在當(dāng)下消費(fèi)文化日益膨脹的時(shí)代，傳統(tǒng)瓷板畫(huà)的固有實(shí)用功能和精神價(jià)值在逐漸式微，比如作為生活必需品的市場(chǎng)需求、作為敬宗祭祖的紀(jì)念品的符號(hào)功能等等，都在逐漸剝離。隨之，作為商品流通的剛性需求急劇減少。因而，瓷板畫(huà)的地位在當(dāng)代生活中也在邊緣化、非主流化。然而，南昌瓷板畫(huà)作為非物質(zhì)傳統(tǒng)文化遺產(chǎn)，其精神文化價(jià)值、地域文化身份、獨(dú)特的審美意蘊(yùn)仍然是世界審美文化的重要組成部分，作為優(yōu)秀的人類(lèi)文化符號(hào)，其保存與傳承的價(jià)值是毋庸置疑的。如何發(fā)掘南昌瓷板畫(huà)的精神文化價(jià)值、藝術(shù)審美特征等等，是時(shí)代提出的課題。本論文正是以此為出發(fā)點(diǎn)，探析南昌瓷板畫(huà)的藝術(shù)淵源，對(duì)它的文化藝術(shù)身份進(jìn)行深度挖掘。 本文分別對(duì)景德鎮(zhèn)釉上人物畫(huà)領(lǐng)域、南昌瓷板畫(huà)領(lǐng)域進(jìn)行具體的闡述，包括產(chǎn)生原因、代表人物、發(fā)展過(guò)程、藝術(shù)特征等內(nèi)容。并以此為依據(jù)來(lái)對(duì)景德鎮(zhèn)、南昌兩個(gè)區(qū)域的瓷上繪畫(huà)人物領(lǐng)域進(jìn)行比較研究，文章重點(diǎn)是對(duì)于二者關(guān)系的研究。運(yùn)用對(duì)比研究的手法，，研究二者的繼承性、同一性、差異性。主要從藝術(shù)表現(xiàn)層面來(lái)分析，包括題材、造型、色彩、構(gòu)圖、技法等方面。通過(guò)這些方面的比較分析得到二者的異同。如先期題材南昌繼承自景德鎮(zhèn)，后期發(fā)展中有過(guò)相同的題材如偉人像，在此基礎(chǔ)上南昌還繪制名人、明星像、命題性創(chuàng)作等；造型方面先期繼承自景德鎮(zhèn)，景德鎮(zhèn)開(kāi)創(chuàng)時(shí)期造型不是完全基于解剖學(xué)，明顯具有中國(guó)畫(huà)的眉眼、胡須的表現(xiàn)手法。將瓷上肖像畫(huà)傳入南昌的梁兌石具有西畫(huà)功底，造型更加嚴(yán)謹(jǐn)、注重結(jié)構(gòu)的準(zhǔn)確表達(dá)，而不是神韻的刻畫(huà)，與景德鎮(zhèn)明顯不同，這是兩者的差異性等。在這些研究中以時(shí)間為線(xiàn)，以藝術(shù)表現(xiàn)為面，以具體作品為點(diǎn)，點(diǎn)、線(xiàn)、面緊密聯(lián)系、相互貫穿進(jìn)行全面的比較分析。
[Abstract]:The regional culture of Jiangxi has a long and glorious history, the Nanchang porcelain painting is an outstanding cultural symbol. Exists in the form of handicrafts of Nanchang porcelain painting, ornamental, memorial and the circulation of commodities, the profound Chinese traditional humanistic spirit advocated by the Renyilizhi letter, gentle, modest and courteous, zunlaoaiyou filial piety has virtues such as fashion, refinement, sublimation of the ethical relationship between educational power and universal values. In the current expanding consumption culture era, the traditional natural functional and spiritual value in a gradual decline, such as the necessities of the market demand, as a symbol of honor and worship their ancestors function souvenirs and so on, are gradually stripped. Subsequently, the rigid demand as commodity circulation decreased sharply. Therefore, the position in the contemporary life in the edge, non mainstream. However, Nanchang porcelain painting as a traditional intangible cultural heritage and its spiritual and cultural values, cultural identity, unique aesthetic connotation is still an important part of world culture, as the outstanding human culture symbol, the preservation of heritage value is beyond doubt. How to explore the cultural value of Nanchang spirit, aesthetic characteristics wait, is the era of research. This thesis is based on this starting point, the origin of Nanchang porcelain painting art, its cultural and artistic identity of the depth of excavation.
This paper on the Jingdezhen glaze painting field, Nanchang porcelain painting field in detail, including the reasons, representative, development process, artistic features and so on. And on the basis of Jingdezhen, Nanchang two areas of porcelain painting figures in a comparative study, this paper is to study the relationship between the two. By using the comparative study method, study on inheritance of the two, the same, the main difference. From the level of artistic expression analysis, including the theme, style, color, composition, technique and so on. Through the comparative analysis of these aspects are the similarities and differences between the two. As the theme of Nanchang inherited from Jingdezhen early, late development have the same theme as the great man, on the basis of Nanchang also draw celebrities, stars like, propositional creation; other early inherited from Jingdezhen, Jingdezhen to create a period of modelling is not completely based In anatomy, with obvious China painted facial features, beard expression. The porcelain portrait painting was introduced into Nanchang Duishi beam with Western painting skills, style is more rigorous, pay more attention to the exact expression of the structure, rather than spirit characterizations are obviously different from Jingdezhen, this is the difference between the two. In these studies in time for the line, with artistic expression for the face, to the specific work as point, point, line, surface contact each other through a comprehensive comparative analysis.

【學(xué)位授予單位】：江西科技師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J205

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