【摘要】：傳統(tǒng)人物畫在發(fā)展變遷的過程中漸趨分化為肖像、道釋、故實、風俗等門類。其中,故實畫一門傳統(tǒng)悠遠,以往圣舊聞、歷史典故、古賢軼事、神仙逸話等為繪制內(nèi)容,名家輩出、累世相傳。綜合考察故實畫,其核心在于繪畫是"故實"內(nèi)質(zhì),而畫題正是故實的傳達和表現(xiàn)。因此,對故實畫畫題的研究是把握這一類繪畫的關鍵所在。本文在對故實畫相關概念的辨析基礎上分析了早期帶有禮教特征的故實畫,以及故實畫的情節(jié)性、畫題拓展與構圖變化,并分析了《廣川畫跋》中的畫題實證方法。
[Abstract]:In the course of development and vicissitude of traditional figure painting, it is gradually divided into portrait, Taoism, truth, custom and so on. Among them, the truth painting a traditional distant, the past holy old news, historical allusions, ancient anecdotes, fairy words and so on for the drawing content, famous writers have been handed down from time to time. The core of the comprehensive investigation is that the painting is the essence of the old reality, and the painting title is the transmission and expression of the reason and reality. Therefore, it is the key to grasp this kind of painting. In this paper, based on the analysis of the related concepts of the traditional painting, the author analyzes the characteristics of the ancient realistic painting with the characteristics of etiquette, the plot, the expansion and the composition of the painting, and analyzes the empirical method of the painting title in "the Postscript of Guangchuan painting".
【作者單位】： 首都師范大學美術學院;
【分類號】：J212

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本文編號：2396192