發(fā)布時間：2018-05-11 03:34

  本文選題：漢代 + 造型藝術(shù)��； 參考：《山東藝術(shù)學(xué)院》2011年碩士論文

【摘要】：本文首先從漢代造型藝術(shù)中獸紋裝飾的興起展開，從原始社會獸紋裝飾的產(chǎn)生，到春秋戰(zhàn)國、秦代獸紋裝飾的發(fā)展歷程，歸納出獸紋裝飾的發(fā)展概況。再從漢代造型藝術(shù)中獸紋裝飾的歷史成因來分析，主要從大漢帝國的形成與鞏固，兩漢儒學(xué)大一統(tǒng)思想的禮教作用，道教神仙巫術(shù)的影響三方面進(jìn)行闡述。展開對兩漢獸紋裝飾的發(fā)展歷程、形式特征以及審美意蘊(yùn)的闡釋。 西漢初期，獸紋裝飾發(fā)展遲緩，更多地承接了戰(zhàn)國遺風(fēng)，呈現(xiàn)出自然延續(xù)的狀態(tài)。其中獸紋裝飾在帛畫和漆畫中占據(jù)首要位置，人首蛇身、奇幻異獸紛然而至，畫面有引向天界的視覺效果。從漢武帝（公元前140年至公元前87年）至漢章帝（公元76年至公元88年）時期二百余年間，是漢代造型藝術(shù)發(fā)展的鼎盛時期，也是獸紋裝飾最活躍的時期。因厚葬之風(fēng)盛行，以及讖緯之學(xué)的影響，帛畫、墓室壁畫以及漆畫等造型藝術(shù)極為盛行，這時大批祥禽瑞獸伴隨著幾何紋飾的運(yùn)用成為造型藝術(shù)的主要表現(xiàn)形式。統(tǒng)治者利用天地瑞獸裝飾體現(xiàn)對其德行的肯定，也是向往死后追求天人合一的體現(xiàn)。漢和帝時期（公元89年至公元105年）至漢末，漢代獸紋裝飾發(fā)展趨向成熟的階段，獸紋種類空前繁多，造型千姿百態(tài)，刻繪技巧嫻熟，獸紋裝飾占據(jù)了造型藝術(shù)的主導(dǎo)地位。造型藝術(shù)逐漸擴(kuò)展到各個門類，但其用意仍不在于裝飾，依舊體現(xiàn)“惡以誡世，善以示后”的封建教化作用。尤其是畫像石、畫像磚的空前繁盛，使獸紋裝飾的表現(xiàn)形式更多從宴樂、射獵、戰(zhàn)爭、采桑等現(xiàn)實(shí)生活題材中突出獸紋的重要性。這一時期的獸紋裝飾不再使用某一種動物形象，而是動物紋、幾何紋、植物紋相互組合穿插形成新變體。表現(xiàn)手法更加夸張化和自由化，甚至升為圖騰崇拜，表現(xiàn)出極強(qiáng)的生命力量，顯示出漢代宏大巨闊的造型之美。但其稚拙的造型，缺乏精準(zhǔn)的表現(xiàn)能力，其內(nèi)容未能突破某種程式的約束，直到唐代純熟的技藝下盛行的植物紋飾，獸紋裝飾逐漸失去了風(fēng)采和意蘊(yùn)。 獸紋裝飾表現(xiàn)在造型藝術(shù)中，從內(nèi)容到題材的不同，表現(xiàn)方式到造型手段的差異，表現(xiàn)出不同的形式特征。而在漢代形成的審美思想指引下，漢代獸紋裝飾的形式特征又具有相通性，從藝術(shù)形式本身來探討其美學(xué)意蘊(yùn)，這個過程鮮明地反映了對美學(xué)形式的追求。概括來說從質(zhì)樸古拙，動感有力，滿密繁復(fù)這三個方面的形式特征來表現(xiàn)獸紋裝飾造型藝術(shù)，表現(xiàn)在相對獨(dú)立的藝術(shù)樣式（如雕刻、繪畫）中逐漸趨于成熟的發(fā)展。 本文分析漢代造型藝術(shù)中獸紋裝飾的美學(xué)意蘊(yùn)首先概括為生命力量之美，看似質(zhì)樸古拙的獸紋裝飾，必然蘊(yùn)含著內(nèi)在的審美性，那種渾然天成的整體性的內(nèi)在力量和對生命力的贊許構(gòu)成了漢代獸紋裝飾的美學(xué)風(fēng)格。其二是自由夸張之美，以動物為符號或象征的神仙奇幻世界成為重要的藝術(shù)內(nèi)容和審美對象，使得藝術(shù)風(fēng)格更為生趣盎然，自由夸張，揮灑自如。表現(xiàn)出漢代人自由不羈、揮灑如墨的審美意蘊(yùn)。其三是宏大巨闊之美，在漢代造型藝術(shù)中，把獸紋裝飾這種藝術(shù)形式的張力和活力運(yùn)用到了極致。從藝術(shù)形式和審美氣蘊(yùn)中都體現(xiàn)宏大巨闊之美，，表現(xiàn)了人對物質(zhì)世界和自然對象的征服主題。盡管粗拙笨稚，卻氣派雄沉，令人心胸開闊。 基于對以上漢代獸紋裝飾的闡釋與綜合探討，雕繪相濟(jì)的造型，流動勁健的線條、靈活多變的構(gòu)圖，賦予它獨(dú)特的形式美感。寫實(shí)主義、浪漫主義互為表里的交匯融合，使之呈現(xiàn)出豐富多姿的美學(xué)風(fēng)格，即使在今天，漢代獸紋裝飾仍散發(fā)著迷人的精神魅力，具有重要的現(xiàn)代意義。
[Abstract]:This article begins with the rise of the animal pattern decoration in the plastic arts of the Han Dynasty. From the origin of the animal pattern in the primitive society to the development of the spring and Autumn Warring States, the development of the animal pattern decoration in the Qin Dynasty, the development of the animal pattern decoration is summed up. The historical causes of the animal pattern decoration in the Han Dynasty's plastic art are analyzed, mainly from the formation and consolidation of the Great Han Empire, and the Han Dynasty. The ritual role of Confucianism and the influence of the Taoist immortal witchcraft are expounded in three aspects. The development process, the form features and the aesthetic meaning of the animal pattern decoration of the Han Dynasty are expounded.
In the early period of the Western Han Dynasty, the development of animal pattern decoration was slow, which took on the remains of the Warring States, which took on the state of natural continuity. The animal pattern decoration occupies the first place in silk painting and lacquer painting, the first snake body is the first snake body, the strange animal is in a dispute, the picture has the visual effect to the sky. From the Han Wu Emperor (140 BC to 87 BC) to the Han Dynasty Emperor (7 A.D.) During the period of more than 200 years from 6 to 88 A.D., it was the flourishing period of the development of plastic arts in the Han Dynasty and the most active period of animal pattern decoration. Because of the prevailing wind and the influence of the learning of prophecy, the plastic arts of silk painting, tomb murals and lacquer painting were very popular, and the large batch of birds and animals were accompanied by the use of geometric ornamentation. The main manifestation of the art is that the rulers use the heaven and earth animal decoration to embody the affirmation of their virtue, and the embodiment of the pursuit of the unity of heaven and man after death. The period of Han and Emperor's period (from 89 to 105 A.D.) to the end of the Han Dynasty, the development of the animal pattern decoration in the Han Dynasty tends to mature, and the animal pattern has an unprecedented variety, various shapes and styles, and the beasts of the beasts and animals. The decorative pattern occupies the dominant position of the plastic arts. The art of modeling is gradually extended to various categories, but its meaning is still not the decoration, and it still embodies the feudal teaching effect of "evil to warn the world and good to show". On the subject of real life, the importance of the animal pattern is highlighted. The animal pattern is no longer used in this period, but the animal pattern, geometric pattern and plant pattern are interspersed with each other to form a new variant. The expression technique is more exaggerated and liberalized and even totem worship, showing great strength of life, showing the grand and huge Han Dynasty. The beauty of modeling, but its childish modeling, the lack of accurate performance, its content failed to break through the constraints of a certain program, until the Tang Dynasty, the flourished art of plant ornamentation, animal pattern decoration gradually lost the style and implication.
The animal pattern decoration shows in the plastic art, from the different content to the subject matter, the way of expression to the difference of the modeling means, showing different forms and characteristics. Under the guidance of the aesthetic thought formed in the Han Dynasty, the form features of the animal pattern in the Han Dynasty are interlinked, and the aesthetic implication is discussed from the artistic form itself. This process is in sharp contrast. The pursuit of aesthetic form is reflected. In general, the form features of the three aspects, simple and unadorned, powerful and full of complexity, show the art of animal pattern decoration, and are gradually developed in a relatively independent artistic style (such as sculpture and painting).
This article analyzes the aesthetic implication of the animal pattern decoration in the Han Dynasty's plastic arts, which is first summarized as the beauty of life strength. It seems that the unadorned and unclumsy animal grain decoration inevitably contains the inner aesthetic nature. The innate inner strength and the praise of the vitality constitute the aesthetic style of the animal grain decoration of the Han Dynasty. Beauty, the magical world of immortals with animals as symbols or symbols has become an important artistic content and aesthetic object, making the artistic style more interesting, free and exaggerated and free and easy. It shows the aesthetic meaning of the free and unrestrained people of the Han Dynasty, and the third is the grand and vast beauty, and the art of the Han Dynasty adornment this art with animal grain. The tension and vitality of the form are applied to the extreme. From the artistic form and the aesthetic meaning, the grand and grand beauty is reflected, showing the subject of conquest of the material world and the natural object.
Based on the interpretation and comprehensive discussion of the animal pattern decoration of the Han Dynasty above, the sculpt of relief and painting, the flow of strong lines and the flexible composition give it a unique aesthetic feeling. The combination of realism and romanticism makes it rich and colorful, even today, the animal pattern decoration in the Han Dynasty still emanates. The fascinating spiritual charm has an important modern meaning.

【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J505

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