本文選題：唐代 + 仕女畫�。� 參考：《中國(guó)美術(shù)學(xué)院》2014年碩士論文

【摘要】：唐代是人物畫發(fā)展的黃金時(shí)代,其中仕女畫在中國(guó)古代繪畫發(fā)展史中占有重要地位。仕女畫中的女性形象具有曲眉豐頰的特點(diǎn),體態(tài)上則豐腴婀娜,這與社會(huì)的開放、女性地位提高有密不可分的關(guān)系。開放的文化帶來新的思想,從而減輕了儒家思想對(duì)女性的禁錮,從而激發(fā)仕女畫家對(duì)仕女畫內(nèi)容的持續(xù)性探索以及對(duì)于技法的嘗試。本文將從具體畫作著手,分析不同畫作中對(duì)于仕女形態(tài)的處理手法以及不同作者的個(gè)人風(fēng)格,并從實(shí)踐角度出發(fā),探求其中的繪畫技法,來論述其別開生面之處及其美學(xué)價(jià)值。
[Abstract]:The Tang Dynasty was the golden age of the development of figure painting, in which the painting of ladies played an important role in the history of ancient Chinese painting. The female figure in the female painting is characterized by quombulation and graceful posture, which is closely related to the opening of society and the advancement of female status. The open culture brings new ideas, which lightens the imprisonment of women by Confucianism, and stimulates the continuous exploration of the contents of the paintings and the attempts at techniques by female painters. This article will start from the concrete painting, analyzes the different painting to the lady shape processing technique as well as the different author's personal style, and from the practical angle, seeks the painting technique, discusses its unique aspect and its esthetics value.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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相關(guān)期刊論文 前3條

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本文編號(hào)：2118291