發(fā)布時(shí)間：2018-06-28 21:01

  本文選題：鐘馗圖像 + 鬼神畫��； 參考：《寧波大學(xué)》2017年碩士論文

【摘要】：本文試圖以“風(fēng)格——畫意”的關(guān)系為角度,利用空間的變化為線索來重新檢視10-19世紀(jì)以鐘馗為母題的繪畫在中國(guó)繪畫史上的發(fā)展�！扮娯浮碑嫐v史久遠(yuǎn),形式豐富,是中國(guó)繪畫史上十分獨(dú)特的一類繪畫。作為一個(gè)歷久彌新的圖像,其背后有著復(fù)雜的文化變遷,沉淀與反思,并在歲月演衍的過程中不斷再生創(chuàng)發(fā),成為中國(guó)美術(shù)史上極具代表性的繪畫傳統(tǒng)。就已有的研究成果顯示,對(duì)于這一主題繪畫作品的研究大都采用“不同時(shí)期——形式差異”的論述框架,研究著重于鐘馗繪畫的地域、樣式分類及其產(chǎn)生的文化影響等方面。本文擬在此基礎(chǔ)上,通過對(duì)“內(nèi)在脈絡(luò)變化”的觀察,同時(shí)以歷代使用空間的轉(zhuǎn)變?yōu)榍腥朦c(diǎn),探討了這一傳統(tǒng)主題的形塑與變遷,并闡釋其背后所具有的文化意義。通過對(duì)問題與研究范圍的說明與界定,以及對(duì)這一主題的研究史進(jìn)行回顧,縷析古代文獻(xiàn)中鐘馗系列傳說的核心情節(jié)之所在,并以此為出發(fā)點(diǎn)探討鐘馗圖像的民間性格成因與鐘馗繪畫在畫史上的定位。同時(shí),將10—19世紀(jì)有代表性的鐘馗圖像進(jìn)行縱向梳理與排列,以期窺見每個(gè)時(shí)代不同的圖像配置與繪畫風(fēng)格。綜合所有圖像特性,結(jié)合當(dāng)時(shí)歷史環(huán)境與文化特征等因素,能夠闡述9個(gè)世紀(jì)以來鐘馗視覺圖像的形塑與嬗變過程。以鐘馗圖像使用位置的變化為線索,其位置所承擔(dān)的不同職能可以詮釋鐘馗繪畫畫意的轉(zhuǎn)變。從唐代帶有強(qiáng)烈鬼神畫特性的表現(xiàn)到宋元世俗化情節(jié)的豐富,再到明清為文人階層所清賞。鐘馗這一傳統(tǒng)主題,在漫長(zhǎng)的9個(gè)多世紀(jì)中,不斷有新的參與者加入創(chuàng)作,擴(kuò)大并豐富其意涵,為這一具有民間性格的傳統(tǒng)主題注入源源不斷的生命力。
[Abstract]:This paper attempts to re-examine the development of painting in the history of Chinese painting in the 10-19 century with Zhong Kui motif as its motif, from the angle of the relationship between stylism and pictorial meaning, using the change of space as a clue. Zhong Kui painting has a long history and rich form. It is a unique kind of painting in the history of Chinese painting. As a long-lasting new image, behind the complex cultural changes, precipitation and reflection, and in the course of years of continuous regeneration and creation, has become a very representative painting tradition in the history of Chinese art. According to the existing research results, most of the research on this subject is based on the framework of "different period-form difference", which focuses on the region of Zhong Kui painting, style classification and its cultural impact. On this basis, through the observation of "the change of the internal context" and the change of the space used in the past dynasties, this paper discusses the shape and change of this traditional theme, and explains the cultural significance behind it. Through the explanation and definition of the problem and the scope of research, as well as the review of the history of the research on this subject, this paper analyzes the core plot of the Zhong Kui series legends in the ancient literature. From this point of view, this paper discusses the causes of the folk character of Zhong Kui images and the orientation of Zhong Kui painting in the history of painting. At the same time, the representative Zhong Kui images of the 10-19 century are combed and arranged longitudinally in order to get a glimpse of the different image configurations and painting styles of each era. Combined with all the image characteristics and the historical environment and cultural characteristics of the time, the shaping and transmutation process of Zhong Kui visual images over the past 9 centuries can be expounded. According to the change of the position of the Zhong Kui image, the different functions of the position can interpret the change of the painting meaning of Zhong Kui. From the Tang Dynasty with strong ghost painting characteristics to the Song and Yuan secularization of the rich plot, to the Ming and Qing dynasties by the literati class. Zhong Kui, a traditional theme, has been created by new participants for more than nine centuries, expanding and enriching its meaning, and infusing a continuous stream of vitality into this traditional theme with folk character.
【學(xué)位授予單位】：寧波大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 文心;;鐘馗圖[J];老年教育(書畫藝術(shù));2009年01期

2 苑利;;《鐘馗圖》及其文化象征[J];民間文化論壇;2012年03期

3 張愚;;《鐘馗圖》[J];花木盆景(花卉園藝);1998年03期

4 陳冬至;;陳冬至鐘馗圖[J];連環(huán)畫報(bào);2013年10期

5 朱萬章;;意在雅俗之間——明代袁尚統(tǒng)《鐘馗圖》解讀[J];書畫藝術(shù);2008年03期

6 李炅;;“鐘馗樣”研究[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2007年03期

7 劉崢;;終南高士——雅俗互動(dòng)中的鐘馗圖像演變[J];美術(shù)觀察;2007年07期

8 鄧兆銘;;畫事二記[J];蘇州雜志;2007年06期

9 劉世軍;;吳道子《鐘馗圖》創(chuàng)作時(shí)間考[J];江西教育學(xué)院學(xué)報(bào)(社會(huì)科學(xué));2006年02期

10 董三軍;;鐘馗造像的神性寄予(下)[J];收藏家;2009年11期

相關(guān)重要報(bào)紙文章 前4條

1 賈關(guān)法;鐘馗不衰的畫題[N];中國(guó)商報(bào);2002年

2 郭建中;西林先生與鐘馗圖[N];中國(guó)老年報(bào);2000年

3 本報(bào)記者 車俊鋒 特邀記者 申新意;墨香繪人生[N];發(fā)展導(dǎo)報(bào);2009年

4 朱浩云;海派名家春拍亮眼[N];中華工商時(shí)報(bào);2002年

相關(guān)碩士學(xué)位論文 前3條

1 高雪瑩;從門扉到書齋：10-19世紀(jì)鐘馗圖像的形塑與變遷[D];寧波大學(xué);2017年

2 李莎;鐘馗圖像研究[D];陜西師范大學(xué);2011年

3 陳蓓蓓;元以來“寒林鐘馗”圖像研究[D];華中師范大學(xué);2016年

，

本文編號(hào)：2079338