本文選題：中國 + 韓國　； 參考：《華東師范大學》2013年博士論文

【摘要】：中國傳統(tǒng)吉祥畫是單獨或綜合運用各種象征手法的繪畫類型,也是中國吉祥文化的重要組成部分。吉祥畫展現(xiàn)著人們對現(xiàn)實生活中的祈愿和對理想世界的追求,在生活中陳陳相因,代代相傳。 中國傳統(tǒng)吉祥畫不僅豐富了本國文化,而且對韓國文化也產(chǎn)生了深厚的影響。眾所周知,有史以來,韓國與中國有著密不可分的關系,對中國文化采取積極開放的態(tài)度。在中國畫大量傳入韓半島的同時,中國吉祥畫也逐漸在韓半島生根開花。在慕華思想的影響下,表現(xiàn)人類共同心理追求——吉祥的吉祥畫吸引了韓半島歷代王室以及上流階層。隨著生活水平的提高,憧憬精英階層生活的普通百姓也同樣能夠在生活中接觸或享受到中國吉祥畫,由此兩國擁有了共同的圖像語言。中國吉祥畫以由上流社會走向民間逐漸融入于韓半島的民俗生活中,在韓國風俗習慣的土壤上,根據(jù)時代和觀念的不同,不斷變化而實現(xiàn)了中國吉祥畫的本土化,并在此過程中試圖創(chuàng)新,樹立起了韓國獨特的吉祥畫傳統(tǒng)。這樣,兩國吉祥畫之間產(chǎn)生了“同源異流,同根異枝”的關系。 雖然兩國傳統(tǒng)吉祥畫具有豐富的審美價值和民俗信息,然而在現(xiàn)代社會的迅速發(fā)展中并沒有受到人們的重視,甚至面臨著失傳的危機。其中的重要原因在于沒有傳承對吉祥畫的“讀畫”訣竅。吉祥畫是在漫長的歷史長河中積淀的吉祥觀念的象征表現(xiàn),因此“讀吉祥畫”需要對吉祥畫的外在形式、內(nèi)在含義及其特定的文化時空進行全方位的解讀。而停留在表層的“看畫”是不能找出吉祥畫形式的內(nèi)在價值的。 本文以散落于中國、韓國、日本、法國等各地的兩國吉祥畫為基礎資料,發(fā)掘兩國共享的傳統(tǒng)吉祥畫并進行立體性的分析和比較。其結果有利于提高中韓兩國對傳統(tǒng)吉祥畫以及傳統(tǒng)文化的正視和重視,也有益于為兩國傳統(tǒng)吉祥畫的恢復和傳承問題提供新的方向。
[Abstract]:Chinese traditional auspicious painting is an important part of Chinese auspicious culture. Auspicious paintings show people's wishes in real life and the pursuit of ideal world. In life Chen Xiangyin is handed down from generation to generation. Chinese traditional auspicious paintings not only enrich the national culture, but also have a profound influence on Korean culture. As we all know, South Korea has been closely related with China and adopted a positive and open attitude to Chinese culture. At the same time, Chinese auspicious paintings gradually took root and blossomed in the Korean Peninsula while a large number of Chinese paintings were introduced into the Korean Peninsula. Under the influence of Muhua's thought, the auspicious paintings which express the common pursuit of human psychology attracted the royal family and the upper class of the Korean Peninsula. With the improvement of living standards, ordinary people who are looking forward to the life of the elite are also able to contact or enjoy the Chinese auspicious paintings in their lives, so the two countries have the same image language. The Chinese auspicious paintings gradually melt into the folk life of the Korean Peninsula from the upper class society to the folk life. In the soil of Korean customs and habits, and according to the different times and ideas, the Chinese auspicious paintings have realized the localization of the Chinese auspicious paintings. And in the process of trying to innovate, set up a unique Korean auspicious painting tradition. In this way, the auspicious painting between the two countries produced the relationship of "the same origin, the same root and different branches". Although the traditional auspicious paintings of the two countries have rich aesthetic value and folklore information, they have not been paid attention to in the rapid development of modern society, and even face the crisis of loss. One of the important reasons is that there is no inheritance of auspicious painting "read painting" trick. Auspicious painting is the symbol of auspicious concept accumulated in the long history. Therefore, "reading auspicious painting" requires an all-round interpretation of the external form, internal meaning and specific cultural time and space of auspicious painting. But "looking at painting" in the surface cannot find out the intrinsic value of auspicious painting form. Based on the auspicious paintings scattered in China, Korea, Japan and France, this paper explores the traditional auspicious paintings shared by the two countries and makes a stereoscopic analysis and comparison. The result is conducive to the improvement of traditional auspicious paintings and traditional culture in China and South Korea, and also to provide a new direction for the restoration and inheritance of traditional auspicious paintings between China and South Korea.
【學位授予單位】：華東師范大學
【學位級別】：博士
【學位授予年份】：2013
【分類號】：J209

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本文編號：1945439