本文選題：南陽漢畫像石 + 圖案��； 參考：《江南大學(xué)》2009年碩士論文

【摘要】： 南陽漢畫像石的圖案裝飾藝術(shù)是漢文化的結(jié)晶,可也說是中原文化與楚文化交融、合作的成果,也是漢代造型語言的杰出代表。南陽又有其政治、文化、經(jīng)濟(jì)、地理位置的獨(dú)特地位,在這個“物華天寶'、“人杰地靈”的地方,自然會催生出諸多有獨(dú)特風(fēng)韻的藝術(shù)作品,南陽漢畫像石便是南陽地區(qū)藝術(shù)門類中的典型。“歷史向前一步的發(fā)展,往往是伴隨著后退一步的探古窮源”,也是本文對南陽漢畫像石進(jìn)行研究的出發(fā)點(diǎn)與核心目的。漢畫像石寄托了漢代人升天成仙、生命永恒的愿望,其圖案更是一種有代表性的裝飾藝術(shù)。南陽漢畫像石的圖案把生活中的自然形象,經(jīng)過藝術(shù)加工,使其基本造型要素、構(gòu)圖等適用裝飾審美原則,造就兼具現(xiàn)實(shí)主義與浪漫主義風(fēng)格于一身的南陽漢畫像石裝飾藝術(shù)。 本文以南陽漢畫像石圖案為研究對象,從歷史的、文化的角度,探討了南陽漢畫在漢畫藝術(shù)中的地位以及南陽漢畫藝術(shù)產(chǎn)生的各種因素,以及南陽漢畫像石圖案裝飾藝術(shù)的分類、雕刻技法、文化內(nèi)涵等內(nèi)容;重點(diǎn)深入分析了南陽漢畫像石基本要素的構(gòu)成特點(diǎn)與裝飾構(gòu)圖,總結(jié)了南陽漢畫像石圖案的裝飾法則,進(jìn)而提煉出南陽漢畫像石圖案的裝飾美的規(guī)律;闡述了南陽漢畫像石的藝術(shù)價值在現(xiàn)代語境中的造型藝術(shù)及南陽當(dāng)?shù)貏?chuàng)意文化的傳承與發(fā)展,達(dá)到“古為今用”的研究目的。
[Abstract]:The decorative art of painting stone in Han Dynasty in Nanyang is the crystallization of Han culture, but it is also the result of the fusion and cooperation between the culture of Central Plains and the culture of Chu, as well as the outstanding representative of the modeling language of the Han Dynasty. Nanyang also has its unique position in politics, culture, economy and geographical location. In this place of "Wuhua Tianbao" and "outstanding people", many unique works of art will naturally emerge. Nanyang Han stone portrait is a typical art category in Nanyang area. The development of history is often accompanied by a backward step to explore the source of poverty, which is also the starting point and core purpose of this paper to study the stone relief of the Han Dynasty in Nanyang. The stone relief of the Han Dynasty reposed the immortal desire of the people in the Han Dynasty, and its design was also a representative decorative art. The pattern of stone relief in Nanyang Han Dynasty transforms the natural image of life through artistic processing, making its basic modeling elements, composition and other applicable decorative aesthetic principles, so as to bring up the decorative art of Nanyang Han stone portrait with both realism and romanticism style. This article takes the Han Dynasty stone relief pattern of Nanyang as the research object, from the historical and cultural point of view, discusses the position of Nanyang Han painting in the Han painting art and the various factors of the Nanyang Han painting art. As well as the classification, engraving techniques, cultural connotation and other contents of the decorative art of the Han Dynasty stone relief pattern in Nanyang, the paper analyzes in depth the composing characteristics and decorative composition of the basic elements of the stone relief in Nanyang Han Dynasty, and summarizes the decorative principles of the stone relief pattern in the Han Dynasty in Nanyang. Then it abstracts the law of decorative beauty of Nanyang Han Dynasty stone relief pattern, expounds the art value of Nanyang Han stone portrait in modern context and the inheritance and development of Nanyang local creative culture, so as to achieve the purpose of "using the past for the present".
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：K879.4

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王亞珂;孫華軍;;漢畫像石藝術(shù)對圖形創(chuàng)意的啟示[J];美與時代(上);2012年03期

相關(guān)碩士學(xué)位論文 前1條

1 顧雅男;漢代樂舞百戲畫像石研究[D];山西師范大學(xué);2013年

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本文編號：1832481