本文選題：肖像畫 + 傳神　； 參考：《沈陽師范大學(xué)》2013年碩士論文

【摘要】：自遠(yuǎn)古時(shí)代，中國就已經(jīng)出現(xiàn)人物畫，至唐宋時(shí)期達(dá)到一個(gè)鼎盛時(shí)代。但宋以后由于文人畫的興起和發(fā)展，人物畫科漸漸被輕視。這其中的主要原因是由于文人士大夫的輕視，而大部分的美術(shù)史都是由文人士大夫所撰寫，所以人物畫的地位被貶低。其實(shí)這種觀點(diǎn)是不對(duì)的�？v觀西方美術(shù)史，肖像人物畫一直是繪畫發(fā)展的主流，所以有了倫勃朗等藝術(shù)大師。在中國其實(shí)也一樣，唐朝時(shí)期肖像人物畫是每一位畫家的必修科目，所以在唐朝人物畫的發(fā)展最為輝煌，而且也有了吳道子、閻立本等人物畫大師，為我國人物畫發(fā)展做出了巨大的貢獻(xiàn)。 宋以后由于中國特定的歷史發(fā)展原因，導(dǎo)致了人物畫的發(fā)展受到了一定的制約，也使肖像人物畫的沒有得到正確的重視，這一現(xiàn)象直到我們生活的當(dāng)下仍然有著它的余溫。比如在我國一些地區(qū)，仍然存在一些舊觀點(diǎn)，就是中國畫的人物畫不及西方的人物畫生動(dòng)、寫實(shí)；學(xué)習(xí)中國畫人物畫不如學(xué)習(xí)山水花鳥等等。但是筆者認(rèn)為，中國畫人物畫有其獨(dú)特的造型特點(diǎn)，有栩栩如生的寫實(shí)造型，也有浪漫感性的夸張的變形造型。他們對(duì)中國畫人物畫的發(fā)展起到了巨大的推動(dòng)作用。 本文之所以選擇明清時(shí)期的肖像畫作為研究對(duì)象原因有三：第一，，唐宋時(shí)期的人物畫本身就在美術(shù)史上有了至高無上的地位，這些傳世作品的歷史和繪畫的重要價(jià)值已沒有任何歧義，得到了大眾的認(rèn)可，而明清時(shí)期的卻不同——當(dāng)時(shí)文人畫占據(jù)繪畫發(fā)展的主流地位，肖像人物畫的發(fā)展空間本就十分有限，在這種情況下得以發(fā)展已屬不易，卻沒有得到應(yīng)有的價(jià)值確認(rèn)；第二，由于明清時(shí)期社會(huì)制度的變革，小商品經(jīng)濟(jì)的迅速發(fā)展，在這種社會(huì)背景下給肖像人物畫帶來了什么樣的變化值得我們研究和考證；第三，國內(nèi)現(xiàn)在研究明清肖像的專門論著不多，大部分都是字?jǐn)?shù)不多的論文和博物館記錄，但是明清肖像的歷史價(jià)值值得我們進(jìn)行深入研究。基于以上幾點(diǎn)原因，我選擇了從明清肖像來觀察研究中國畫人物造型觀發(fā)展到明清時(shí)期有了什么樣的具體的變化。 本文主要研究明清時(shí)期的肖像寫真畫與前朝相比發(fā)生了什么樣的微妙變化，從而探索出明清人物造型特點(diǎn)的轉(zhuǎn)變。另外，對(duì)于一些有爭(zhēng)議的造型觀點(diǎn)如曾鯨：曾鯨的人物畫作品的爭(zhēng)論有很多，大體上分為兩派，一派說他是繼承前朝的基礎(chǔ)上進(jìn)行了自己的創(chuàng)新，一派說他是受了西方壁畫的影響，本文中筆者通過photoshop這一現(xiàn)代計(jì)算機(jī)作圖軟件對(duì)他的作品進(jìn)行了特殊處理，從直觀上論證出了曾鯨的作品還是傳承前朝繪畫技法稍多一些。另外通過書籍的查閱和材料的搜集，集中了一大批有用的文獻(xiàn)材料進(jìn)行對(duì)比分析研究，總結(jié)出了明清人物造型向?qū)憣?shí)傳神和夸張變形兩個(gè)方向發(fā)展的特點(diǎn)。
[Abstract]:Since ancient times, China has appeared figure painting, to the Tang and Song dynasties reached a peak.But after Song Dynasty, because of the rise and development of literati painting, the subject of figure painting was gradually despised.The main reason is the contempt of literati and officials, and the majority of art history is written by literati and officials, so the status of figure painting is devalued.In fact, this view is wrong.Throughout the history of Western art, portrait figure painting has been the mainstream of painting development, so Rembrandt and other art masters.In fact, in China, portrait portrait painting was a compulsory subject for every painter in the Tang Dynasty, so the development of figure painting in the Tang Dynasty was the most brilliant, and there were also masters of figure painting such as Wu Dao-zi, Yan Liben, etc.It has made great contribution to the development of Chinese figure painting.Since the Song Dynasty, the development of figure painting has been restricted because of the specific historical development of China, and the portrait figure painting has not been given the correct attention. This phenomenon still has its residual temperature until the present moment of our life.For example, in some areas of our country, there are still some old views, that is, the figure painting in Chinese painting is not as vivid and realistic as the figure painting in the West; the study of figure painting in Chinese painting is not as good as studying landscape flowers and birds, and so on.However, the author believes that Chinese figure painting has its unique modeling characteristics, lifelike realistic modeling, but also romantic and sensual exaggerated deformation modeling.They played a huge role in promoting the development of Chinese figure painting.There are three reasons why this article chose the portrait painting of the Ming and Qing dynasties as the object of study. First, the figure painting of the Tang and Song dynasties has a supreme position in the history of fine arts.The history of these works and the important value of painting are no longer ambiguous, have been recognized by the public, but different in the Ming and Qing dynasties, when literati painting occupied the mainstream position in the development of painting,The development space of portrait figure painting is very limited, under such circumstances, it is not easy to develop, but it has not been confirmed by its due value. Second, because of the social system change during the Ming and Qing dynasties, the rapid development of small commodity economy.Under this social background, what kind of changes have been brought to portrait portraits is worthy of our study and textual research. Third, there are not many articles devoted to the study of portraits in the Ming and Qing dynasties in China, most of which are articles and museum records with few words.However, the historical value of the Ming and Qing dynasties portraits is worth our in-depth study.Based on the above reasons, I choose from the Ming and Qing portraits to observe the development of Chinese painting figure modeling view to the Ming and Qing dynasties what kind of specific changes.This article mainly studies what kind of subtle changes have taken place in the portrait portrait of the Ming and Qing dynasties compared with the previous period, thus exploring the transformation of the characters' modeling characteristics of the Ming and Qing dynasties.In addition, there are many arguments about some controversial styling views such as Zeng whale: Zeng whale's portrait painting works, which are generally divided into two factions. One faction says that he carried out his own innovation on the basis of inheriting the previous dynasty.One school said that he was influenced by western murals. In this paper, the author made a special treatment on his works through photoshop, a modern computer graphics software, and demonstrated intuitively that the works of Zeng whale or the inheritance of painting techniques of the previous dynasties were a little more.In addition, through the reference of books and the collection of materials, a large number of useful literature materials are collected for comparative analysis and research, and the characteristics of the development of characters' modeling in the Ming and Qing dynasties towards realistic and exaggerated deformation are summarized.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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本文編號(hào)：1765308