【摘要】： 本文以西方造型藝術中的人體形象為切入點,闡釋人體藝術的創(chuàng)作動機與審美演變,揭示出人體藝術的發(fā)展是人戰(zhàn)勝自然、從神到人的意識發(fā)展的結果。人體藝術自始至終是以人為對象為參照,表現(xiàn)了人類熱愛生命與追求自由的本質(zhì)。依據(jù)藝術史的發(fā)展順序,本文將西方人體造型藝術分為六個階段進行論述。 (一)原始社會是女神主宰天下的年代,人類的精神生活以巫術生活為主要內(nèi)容。原始社會的人體雕像反應出人類是通過崇拜母神來保佑人的繁衍,通過人的性本能的刻畫暴露其原始欲求。(二)古希臘時期創(chuàng)造的神及半人半神的形象實際是以人為參照,把人的形象提煉成理想的“人”,表現(xiàn)出人類對理想世界的追求。(三)文藝復興時期人文主義精神高昂,人體藝術的創(chuàng)作主要還是借用神化和基督教題材,間接表現(xiàn)人間現(xiàn)實。藝術中的人體形象可謂是裹著神的外衣,展露人類自己。這時期的人體藝術追求人的完美,著重表達世俗人的情緒,這是人類對自我認識提高的表現(xiàn)。(四)巴洛克和羅可可時期,現(xiàn)世的享樂取代了對宗教彼岸世界的追求,但藝術仍是僅限于某一階層的審美需求。尤其是羅可可藝術純粹是為上流社會的享樂而誕生的,其人體藝術成為宮廷生活中演繹貴族情調(diào)的享樂品。(五)十九世紀的西方是一個學術、民主的社會,藝術成為社會普遍的審美需求。人自身的審美領域也得到更大開拓:此時藝術關心日常生活中的人,是對最廣大、最普遍的人的關注,譜寫了從理想美到自然美的贊歌;另一方面,這一時期的人體藝術的表現(xiàn)領域也深入到了人的精神層面,注重表達主體的精神世界。(六)二十世紀現(xiàn)代藝術中的人體形象是對傳統(tǒng)藝術的創(chuàng)新與反思�，F(xiàn)代藝術中的人體被分解、扭曲、變形,使得裸像不僅僅表現(xiàn)人體,而是同作者的豐富想象力相聯(lián)系,成為作者精神觀念和主觀情緒表達的產(chǎn)物,這使得人體藝術的表現(xiàn)走向了更為自由的境地。
[Abstract]:This article takes the human body image in the western plastic arts as the breakthrough point, explains the creation motive and the esthetic evolution of the human body art, and reveals that the development of the human body art is the result of man's victory over nature and the development of the consciousness from God to man. From beginning to end, the art of human body refers to human beings, which shows the nature of human love for life and the pursuit of freedom. According to the development order of the history of art, this paper divides the western human body art into six stages. (1) the primitive society was dominated by the Goddess, and the spiritual life of mankind was dominated by witchcraft. The statue of human body in primitive society reflects that human beings bless the reproduction of human beings by worshipping their mother gods, and reveal their original desires by depicting their sexual instincts. (2) the images of gods and demigods created in ancient Greece were actually taken as human reference and the images of human beings were refined into ideal "human beings", which showed the pursuit of the ideal world by human beings. (3) Renaissance humanism spirit is high, the creation of human body art mainly borrows the deification and the Christian subject matter, indirectly expresses the human reality. The figure of human body in art is wrapped in the coat of God and reveals itself. The art of human body in this period pursues the perfection of man and expresses the emotion of secular man, which is the expression of the improvement of human self-knowledge. (4) in Baroque and Rococo, the earthly pleasure replaced the pursuit of the religious world, but the art was still limited to the aesthetic needs of a certain class. Especially the Rococo art was born for the enjoyment of the upper class society, and its human body art became the enjoyment of the aristocrat in the court life. (v) the West in the nineteenth century was an academic, democratic society, and art became a universal aesthetic demand. The aesthetic field of human beings has also been further developed: at this time, the art of caring for the people in daily life is the concern of the largest and most common people, composing the praises from the ideal beauty to the natural beauty; on the other hand, The expression field of human body art in this period also goes deep into the spiritual level of human beings and pays attention to the spiritual world of expressing the subject. (6) the image of human body in the modern art of the twentieth century is the innovation and reflection of traditional art. The human body in modern art is decomposed, distorted and deformed, making the naked image not only represent the human body, but also be connected with the author's rich imagination and become the product of the author's spiritual concept and subjective emotion expression. This makes the expression of human body art towards a more free situation.
【學位授予單位】：遼寧師范大學
【學位級別】：碩士
【學位授予年份】：2007
【分類號】：J110

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本文編號：2239370