本文選題：繪畫藝術(shù) + 藏傳繪畫��； 參考：《西藏大學》2014年碩士論文

【摘要】：繪畫藝術(shù)是視覺造型藝術(shù)中重要的表現(xiàn)方法之一，對繪畫藝術(shù)特征的分析和全面的把握，不僅要從其畫面的內(nèi)容和形式入手，還要對其更為深刻的文化、政治、宗教等上層建筑背景進行深入的了解，這對于學習和理解藏族傳統(tǒng)繪畫和漢地傳統(tǒng)繪畫同樣大有裨益。就15-20世紀的這兩種傳統(tǒng)繪畫藝術(shù)特征的比較，其年代跨度大，風格繁多，體系龐雜，本論文主要側(cè)重于一下四個方面的問題進行逐一剖析：1對兩者主要的造型特征——線的異同點分析；2對兩者在畫面中所營造的不盡相同的時空觀念進行分析；3對兩者藝術(shù)家不同的繪畫思想觀念進行對比分析；4對藏漢傳統(tǒng)繪畫藝術(shù)的美學理念進行整合——兩者都從屬于東方“線性”造型的審美范疇，從而具有了一定的繪畫藝術(shù)的共性特征。 本論文主要寫作來源有三個主要原因：第一個是西藏獨特的人文自然景觀。西藏處于我國西南邊陲，不僅具有奇特的自然景觀也擁有著獨特的人文氣息，尤其是繪畫，與宗教緊密結(jié)合，與人民的生活、思想、信仰息息相關(guān)。造型獨特，內(nèi)容豐富，色彩鮮明，與藍天白云，雪山湖泊，寺院建筑以及虔誠信民形成一個不可分割的整體——雄渾莊重、自然樸實、真誠奔放。 第二個重要的來源是對藏漢繪畫之間比較的深思熟慮，國內(nèi)外對此方面的探索與研究較少。本論文主要的內(nèi)容是通過對15-20世紀藏漢繪畫藝術(shù)特征的分析比較，從而尋找到藏傳繪畫的審美變遷及審美個性成熟的內(nèi)在原因。第三個原因是對中國古代繪畫的仰慕之情，本論文主要包括明清和近現(xiàn)代藏漢繪畫史。藏傳繪畫在這一時期逐漸成熟，形成了本民族多樣的藝術(shù)風格，審美氣質(zhì)向祖國內(nèi)地傾斜。與此同時，內(nèi)地傳統(tǒng)繪畫和佛教繪畫追尋著自己的發(fā)展規(guī)律，其繪畫方式、繪畫目的與藏傳繪畫也有所不同，對二者之間的比較具有重要的理論價值意義。 本論文主要由緒論和四個章節(jié)共五個部分組成。在緒論中分兩個小節(jié)，第一小節(jié)就本論文所涉及到的主要概念進行闡釋，比如漢地傳統(tǒng)繪畫所產(chǎn)生的文化背景及歷史發(fā)展過程；漢地傳統(tǒng)繪畫的概念界定；藏傳繪畫的發(fā)展歷程；對繪畫藝術(shù)特征的理解；唯美的定義是什么以及對15-20世紀這個時間段的理解等等。第二小節(jié)對國內(nèi)外的研究現(xiàn)狀進行論述，并說明自己的主要研究方法和寫作思路。 第一章分兩個小節(jié)，第一小節(jié)是對藏傳繪畫“線性造型”這一主要特征進行描述，主要把握住了不同時期的用線風格來闡釋藏傳繪畫的審美傾向——逐漸向漢地繪畫風格傾斜的趨勢。第二小節(jié)著重講漢地傳統(tǒng)繪畫的發(fā)展情況，其中又分三個小部分，一是從文人畫以及佛教繪畫方面來說明其繪畫的目的與意義，是為了一種文人意氣的抒發(fā)和境界的探索；二是從徐渭的大寫意“線的變異”入手，反映出當時的社會風氣——個性自由精神的喧囂；三是描述明清時期人物肖像畫的特點，“如燈取影”等傳統(tǒng)繪畫技法的形成對藏漢繪畫的影響。 第二章是本論文的重中之重，借用德國哲學家海德格爾的一句感悟：“人，詩意的棲息”，并將此句作為論文的主要理論來源之一。本論文把存在主義之父克爾凱郭爾的“精神無助”的哲學意識和海德格爾關(guān)注生命的存在方式——感悟并領(lǐng)會地生存作為論點。在這一章節(jié)里主要論述造型與時空的關(guān)系問題以及對人生意義的終極所在的思考。這一章節(jié)也主要分為三個部分，分別從人物造像、時空處理和色彩觀念等方面進行比較。 第三章主要是從藝術(shù)創(chuàng)作主體藝術(shù)家的角度來比較藏漢繪畫的不同，把重點放在了20世紀近現(xiàn)代藝術(shù)家面對西方的寫實主義從而對繪畫的新認知和對傳統(tǒng)繪畫的再認識上。第四章是從東方美學范疇中去體會“線性造型”的魅力，還有，從人文主義個性自由解放的角度去領(lǐng)悟繪畫藝術(shù)的永恒價值意義。 藏族傳統(tǒng)繪畫的審美意識受到內(nèi)地傳統(tǒng)思想的影響，這種對“唯美”境界的追求是古老中國傳統(tǒng)文化觀念的體現(xiàn)。這是藏漢繪畫藝術(shù)的共同點，也是區(qū)別于周邊其他國家與民族的個性所在，同時，兩者都注重線性造型，注重畫面的意象表達，人物與時空關(guān)系的描繪趨向于一種抽象的意念，這與西方科學的對客觀世界真實的摹仿迥然不同。藏漢傳統(tǒng)繪畫藝術(shù)的不同點是：1在用線上，藏傳繪畫里的線條種類比漢地傳統(tǒng)繪畫里要少，而且二者在線條的表達力度上也不盡相同，藏傳繪畫用線在盡其物象上幾近完美，而在漢地傳統(tǒng)繪畫里“線”已成為畫家宣揚個性的標志，甚至打破了線條對物象的束縛；2在意念的表達上，藏傳繪畫時刻在宣揚著“無我”境界，繪畫為宗教服務；而漢傳繪畫則實現(xiàn)著藝術(shù)家自由精神的抒發(fā)；3在時空問題的處理與理解上，藏傳佛教文化中所觀想的終極所在——凈土或者是極樂世界，以及在時間上所體現(xiàn)的生死輪回，都是一個“有限”的終極，一個“有”的所在。而在漢傳文化中，佛教已于儒、道思想相融合，在繪畫藝術(shù)中更多體現(xiàn)“儒、道”的精神，尤其是道家的無為所體悟的那個宇宙世界以及對生命的認知則體現(xiàn)了一個“無”、“無往不復”和“無始無終”的時空意識，空間和時間一起“舞蹈”。4在藝術(shù)觀念上，藏傳繪畫其主體為“佛”，而漢族傳統(tǒng)繪畫其主體是“人”。本論文試圖從“審美”的角度，以“唯美”的觀念作為理論基礎(chǔ)，，在藏漢傳統(tǒng)繪畫藝術(shù)的對比中去探析人類繪畫藝術(shù)的功能與意義，不僅僅將宗教繪畫的作用停留在“觀想”的宗教實用功能上去理解，更是超越唯心思想——宗教的桎梏，走向一條探索“人的本質(zhì)力量”的道路，這就是本論文的宗旨所在。
[Abstract]:The art of painting is one of the most important methods of expression in visual modeling art. The analysis and overall grasp of the artistic features of the painting should not only start with the content and form of the picture, but also deeply understand the background of its more profound cultural, political, religious and other superstructure backgrounds, which is to study and understand the traditional Tibetan painting and the Han Dynasty. Traditional painting is also of great benefit. Comparing the artistic features of these two traditional paintings in the 15-20 century, it has a large span, a variety of styles, and a complex system. This paper mainly focuses on four aspects of the analysis: 1? The analysis of the main features of the two, the similarities and differences of the line; 2? The two in the picture of the two. The different concept of space-time construction is analyzed; 3? To compare and analyze the different painting ideas of the two artists; 4? The integration of the aesthetic concepts of the traditional Tibetan and Chinese painting art - both belong to the aesthetic category of "linear" modeling in the East, and have a certain common characteristics of painting art.
There are three main sources of writing in this paper: the first is the unique cultural and natural landscape of Tibet. Tibet is in the southwestern border of China. It not only has a peculiar natural landscape but also has a unique cultural atmosphere, especially painting, closely linked with religion, closely related to the people's life, thought and belief. Rich, colorful, with blue sky and white clouds, snow mountain lakes, monastery buildings and religious people to form an inseparable whole - majestic and solemn, natural simplicity, sincere and unrestrained.
The second important sources are the careful consideration of the comparison between the Tibetan and Chinese paintings, and the exploration and Research on this aspect at home and abroad. The main content of this paper is to find the inner reasons for the aesthetic changes of Tibetan painting and the inherent reason of the maturity of the beauty of the United States through the analysis and comparison of the artistic features of the Tibetan and Chinese painting in the 15-20 century. Third reasons. It is the admiration of ancient Chinese painting. This paper mainly includes the history of Tibetan and Han paintings in Ming and Qing Dynasties. Tibetan painting gradually matured in this period, formed the various artistic styles of the nation, and the aesthetic temperament inclines to the mainland of the motherland. Meanwhile, the traditional painting and Buddhist painting in the mainland pursued its own development law, and its painting side. The purpose of painting is different from Tibetan painting, which is of great theoretical value to the comparison between the two.
This paper is composed of five parts in the introduction and four chapters. In the introduction, it divides two sections. The first section explains the main concepts involved in this paper, such as the cultural background and historical development process produced by traditional Chinese painting; the definition of the concept of traditional Chinese painting; the development of Tibetan painting; The understanding of the artistic features of the painting; what is the definition of aestheticism and the understanding of the time of the 15-20 century. The second sections discuss the current research status at home and abroad, and explain their main research methods and ideas of writing.
The first chapter is divided into two sections. The first section is the description of the main features of the "linear modeling" of Tibetan painting. It mainly grasps the aesthetic tendencies of Tibetan painting in different periods of use to explain the trend of the inclination to the Chinese painting style gradually. The second section retalks the development of traditional Chinese painting, in which the development of the traditional Chinese painting is retold. Three small parts, one is from the literati painting and Buddhist painting to illustrate the purpose and significance of painting, is for a kind of literati mood to express and the realm of exploration; two is from Xu Wei's great freehand "line variation", reflecting the social atmosphere of the time, the uproar of the spirit of individual freedom; three is the description of the Ming and Qing Dynasties. The characteristics of portrait painting, such as "taking the shadow of the lamp" and other traditional painting techniques, have an impact on Tibetan and Han paintings.
The second chapter is the most important part of this paper. It borrows a sentence from the German philosopher Heidegger: "man, poetic inhabitation", and regards this sentence as one of the main theoretical sources of the thesis. This thesis takes the philosophical consciousness of "spiritual helplessness" of the father of existentialism and the way Heidegger pays attention to the existence of life. In this chapter, we mainly discuss the relationship between modeling and space and time, as well as the ultimate in the meaning of life. This chapter is divided into three parts, which are compared from the figure creation, the time and space processing and the color concept respectively.
The third chapter mainly compares the difference between the Tibetan and Chinese painting from the angle of the artist of the artistic creation, and puts the emphasis on the new cognition of the modern artists in the twentieth Century facing the western realism and the Reunderstanding of the traditional painting. The fourth chapter is to understand the charm of "linear modeling" from the Eastern aesthetic category. From the perspective of humanism, freedom and emancipation, we can understand the eternal value of painting.
The aesthetic consciousness of the traditional Tibetan painting is influenced by the traditional ideas of the mainland. This pursuit of "aestheticism" is the embodiment of the ancient Chinese traditional cultural concept. This is the common point of the Tibetan and Chinese painting art, and is also different from the other countries and people in the surrounding countries. At the same time, both of them pay attention to linear modeling and pay attention to the image image. Expression, the description of the relationship between the characters and the time and space tends to an abstract idea, which is quite different from the imitation of the truth of the objective world in the western science. The different points of the Tibetan and Chinese traditional painting art are: 1? In the use of the lines, the lines in the Tibetan painting are less than those in the traditional Chinese painting, and the two are not exhausted in the expression of the lines. Similarly, the line of Tibetan painting is almost perfect in its image, and the "line" in the traditional Chinese painting has become a symbol of the painter's personality, even breaking the shackles of the lines to the object. 2? In the expression of the idea, the Tibetan painting always proclaims the realm of "no", the painting serves the religion, and the Han painting realizes the art. The expression of the free spirit of the operator; 3? In the processing and understanding of the space-time problem, the ultimate place of the Tibetan Buddhist culture, the net earth or the paradise, and the time of life and death, are both a "limited" ultimate and a "there". In the Han culture, Buddhism has been in Confucianism and Taoism. In the art of painting, the spirit of "Confucianism and Taoism" is more reflected in the art of painting, especially the universe and the cognition of life, and the consciousness of life is embodied in a "no", "endless" and "endless" time and space consciousness, space and time "dance".4? In the artistic concept, Tibetan painting its master The body is the "Buddha", and the main body of the traditional Han painting is "man". This paper tries to analyze the function and significance of human painting art in the contrast of Tibetan and Chinese traditional painting art from the angle of "aesthetic" and the concept of "Aesthetical" as the theoretical basis. It is the purpose of this thesis that we can understand and transcend idealism, the fetters of religion and the path of exploring the essential power of man.

【學位授予單位】：西藏大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J209.2

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