【摘要】：繪畫是文化的載體,研究民族文化是民族地區(qū)美術(shù)史學(xué)的發(fā)展趨勢(shì)。我國北方蒙古族文化藝術(shù)是中華民族文化和中國藝術(shù)的重要組成部分,在歷史上具有重要的作用。本課題以古代繪畫中的蒙古人形象為依托,借助圖像學(xué)研究理論,分析了北方少數(shù)民族繪畫中存在的問題,并探索了中華民族美術(shù)史特定時(shí)期的特殊性,通過對(duì)蒙古族文化藝術(shù)進(jìn)行追蹤、溯源,適當(dāng)結(jié)合現(xiàn)代繪畫理論進(jìn)行評(píng)析實(shí)踐,以求達(dá)到豐富北方民族地域文化藝術(shù)史史學(xué)資料的目的。蒙古人以其獨(dú)特的草原文化和游牧民族的生活和思維方式影響了世界史長達(dá)兩個(gè)世紀(jì),在此期間產(chǎn)生了很多燦爛的文化和藝術(shù)作品。十四世紀(jì)的蒙古人作為草原文化和游牧文化的代表,將其推廣到了阿拉伯地區(qū)乃至歐洲,對(duì)所觸之地都有影響。雖然對(duì)于蒙古人所帶來的影響各界都有自己的觀點(diǎn)和看法,但是其帶來的影響是不能否認(rèn)的。這種影響不只存在于政治和經(jīng)濟(jì)方面,政治局勢(shì)和經(jīng)濟(jì)能力可以左右社會(huì)發(fā)展,而統(tǒng)治者的意識(shí)形態(tài)與思維方式?jīng)Q定了社會(huì)的藝術(shù)取向。這一點(diǎn)在繪畫作品中很具體的體現(xiàn)了出來。蒙古人形象在不同空間、不同領(lǐng)域乃至不同國家都有出現(xiàn),他們之間又有區(qū)別又有共同點(diǎn),并且有濃重的蒙古人形象特點(diǎn)。本文重點(diǎn)研究了影響繪畫作品中所出現(xiàn)人物成分的因素,及其對(duì)蒙古人形象的處理等,并且以蒙古族的身份對(duì)不同的視角和多領(lǐng)域繪畫作品進(jìn)行了研究與分析,探討了如何把握繪畫作品中的蒙古人形象,希望能夠?yàn)榻窈笾袊狈缴贁?shù)民族美術(shù)史與理論研究提供相關(guān)資料素材,成為后續(xù)研究的參考。
[Abstract]:Painting is the carrier of culture, the study of ethnic culture is the development trend of art history in ethnic regions. Mongolian culture and art in northern China is an important part of Chinese culture and art, which plays an important role in history. Based on the image of the Mongols in ancient painting and with the help of the theory of image science, this paper analyzes the problems existing in the painting of the northern minority nationalities, and probes into the particularity of the specific period in the history of Chinese art. By tracing and tracing the Mongolian culture and art, properly combining the modern painting theory with the analysis and practice, the purpose of enriching the historical materials of the northern ethnic regional culture and art history is achieved. Mongolians influenced world history for two centuries with their unique grassland culture and nomadic way of life and thinking, during which many splendid cultural and artistic works were produced. As a representative of grassland culture and nomadic culture, Mongolians in the 14th century extended it to the Arab region and even Europe, which had an influence on the lands touched. Although the influence of the Mongols has its own views and views, but its impact can not be denied. This kind of influence not only exists in politics and economy, political situation and economic ability can control the social development, and the ideology and thinking mode of the ruler decide the artistic orientation of the society. This point in the painting is very specific. Mongolian images appear in different spaces, in different fields and even in different countries. There are differences and similarities between them, and they have strong Mongolian image characteristics. This paper focuses on the factors that affect the composition of the characters in the painting works, and how to deal with the images of the Mongolians, and studies and analyzes the various perspectives and fields of painting works in the identity of the Mongolians. This paper probes into how to grasp the image of Mongols in painting works, hoping to provide relevant materials for the future research on the history and theory of ethnic minority art in northern China, and to become the reference for further research.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205

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