發(fā)布時間：2018-06-10 10:46

  本文選題：伊斯蘭繪畫藝術(shù) + 戒律��； 參考：《東北師范大學(xué)》2015年碩士論文

【摘要】：伊斯蘭教圣訓(xùn)規(guī)定不得造像,不得描繪具有生命體征的對象,從而達(dá)到“認(rèn)主獨(dú)一”的信仰理念,在伊斯蘭教中的重要典籍《古蘭經(jīng)》中也明確指出“禁止偶像崇拜”。在明令禁止下的伊斯蘭的繪畫藝術(shù),尤其是表現(xiàn)人物的繪畫作品的數(shù)量就可想而知了。因此,在始于倭馬亞王朝的伊斯蘭繪畫歷史典籍中查閱以伊斯蘭先知為題材的繪畫作品真可以稱之為舉步維艱。在現(xiàn)存的伊斯蘭藝術(shù)中,有一部分表現(xiàn)先知的繪畫作品,雖然在這些作品中鮮有對先知獨(dú)立個體形象的塑造,但是在對先知與穆民、先知與使者、先知與犯戒人等敘事情節(jié)描繪的作品中,可以領(lǐng)略到作者巧妙地利用繪畫語言成功地塑造出超越常人的先知形象。描繪先知題材的繪畫作品大致可分為兩大類,一類是有描繪具體五官形象的,另一類是沒有具體面部形象或是戴著面紗的繪畫作品。在精心刻畫五官、胡須,虔誠地塑造先知形象的作品幾乎是千人一面的形象特征。沒有具體五官的作品,應(yīng)該是受到教法、教義的左右,將先知的面部或五官隱藏起來,正如在眾多的描繪圣像的作品中,先知的形象都采用不刻劃五官的隱藏或是用面紗遮掩起來、亦有服裝僅有外輪廓線沒有具體形象的作品。通過這種形式去塑造先知形象,也可能是讓信徒們?nèi)ゲ孪?真主是如何有力量,有征服力,有無以言表的法力,真主是萬能的可以給人們帶來無盡的福音和動力的“真神”。如果把從倭馬亞王朝開始一直到當(dāng)下的的伊斯蘭繪畫歷程認(rèn)真、嚴(yán)肅地梳理一下,這個歷史的軌跡不僅是伊斯蘭教明令禁止下的真實存在的歷史,也可以說是一部線性發(fā)展的光輝史。以伊斯蘭先知為題材的繪畫作品這是這部藝術(shù)史中的輝點,正是這些作品在不同歷史時期憑借畫面的整體結(jié)構(gòu)、色彩結(jié)構(gòu)、明度結(jié)構(gòu)、形體結(jié)構(gòu)等語言形態(tài)構(gòu)建了伊斯蘭繪畫藝術(shù)自身獨(dú)特的發(fā)展軌跡和脈絡(luò)。它在世界藝術(shù)中是不可缺少的一部分,它是人類智慧與辛勤耕耘的杰作。通過對伊斯蘭繪畫作品的搜集與整理,從繪畫學(xué)理論的角度分析繪有先知的伊斯蘭繪畫作品,運(yùn)用作品的內(nèi)容、形式語言的解讀來闡釋其價值意義和這一特殊的藝術(shù)現(xiàn)象。本論文針對伊斯蘭教有關(guān)描繪先知的繪畫作品的畫面進(jìn)行繪畫理論分析,同時希望世人更加了解先知題材的繪畫作品,進(jìn)而了解伊斯蘭教藝術(shù),了解伊斯蘭教文化做出的巨大的貢獻(xiàn)。
[Abstract]:The Sharia prescribes that no statues and objects with vital signs can be depicted, thus achieving the belief that "the Lord is the only one", and it is clearly pointed out in the Koran, an important book in Islam, that "idolatry is prohibited." The number of Islamic paintings, especially those that represent characters, can be imagined. Therefore, it is difficult to check out the works of Islamic Prophet in the historical books of Islamic painting that began with the Maya dynasty. Among the existing Islamic arts, there are some paintings of the prophets, in which the independent individual images of the prophets are rarely molded, but the prophets and the Mumin, the prophets and the emissaries, In the works of narration such as the prophet and the violator, we can appreciate the author's skillful use of painting language to successfully shape the image of the prophet beyond ordinary people. The paintings of the Prophet theme can be divided into two categories, one is the painting of the specific features, the other is the painting without the specific facial image or wearing a veil. In the meticulous characterization of facial features, beard, pious portrayal of the image of the Prophet is almost the image of a thousand people. Works without specific features should be influenced by the teachings and teachings, hiding the face or features of the prophet, as in many works depicting the holy image, The images of the prophets are hidden with no facial features or veiled, and there are works in which only the outer contour has no specific image. In this way, it is possible for believers to wonder how God has power, subjugation, and unspeakable mana, and that God is almighty "God" who can bring endless gospel and motivation to people. If the course of Islamic painting from the beginning of the Maya dynasty to the present is carefully and seriously combed, the track of this history is not only the history of the real existence explicitly prohibited by Islam, It is also a glorious history of linear development. Paintings with the theme of the Islamic Prophet this is the highlight of this art history. It is these works that in different historical periods rely on the overall structure of the picture, the color structure, and the brightness structure. The body structure and other linguistic forms construct the unique development track and context of Islamic painting art itself. It is an indispensable part of the world's art, it is the masterpiece of human wisdom and hard work. Through the collection and arrangement of Islamic paintings, this paper analyzes the Islamic paintings painted by the prophets from the perspective of the theory of painting, and explains its value and this special artistic phenomenon by the interpretation of the content and the formal language of the works. This thesis makes a theoretical analysis of the paintings of the Prophet in Islam, and hopes that the world will know more about the paintings of the Prophet and then the art of Islam. Understand the great contribution of Islamic culture.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J205

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本文編號：2002944