本文選題：空間 + 等級(jí)��； 參考：《中國(guó)戲曲學(xué)院》2016年碩士論文

【摘要】：屏風(fēng)作為我國(guó)傳統(tǒng)室內(nèi)的屏蔽器具,它是中國(guó)最古老的器具形制之一,《長(zhǎng)物志·幾塌》中有記載“屏風(fēng)之制最古”。它的產(chǎn)生與我國(guó)的民族文化有著密切的淵源,屏風(fēng)的功能以及形制不斷演變,它體現(xiàn)著不同時(shí)代的審美價(jià)值觀,并承載著某種文化的訴求。屏風(fēng)作為一件在中國(guó)文化特性中被制作和使用的物品,是具有中國(guó)語(yǔ)言的一種文化樣式,它有著多重的身份。在中國(guó)古代的任何空間中,“背負(fù)屏風(fēng)”式的形象所象征的是在政治權(quán)利以及人倫綱常中處于最高權(quán)力的位置,是這一空間掌握話語(yǔ)權(quán)的人。作為一種準(zhǔn)建筑形式,它對(duì)空間進(jìn)行分隔。在藝術(shù)史上,屏風(fēng)這一繪畫(huà)媒材對(duì)它在其形制、風(fēng)格、隱喻乃至觀看方式上都有著深刻的影響。它作為一種重要的書(shū)畫(huà)形制,是在繪畫(huà)中頻繁出場(chǎng)的繪畫(huà)母題,是主人身份或是理想的隱喻。在古代繪畫(huà)中屏風(fēng)作為“真實(shí)“世界與”虛幻“世界的分隔物,景中套景、屏內(nèi)套屏的構(gòu)圖方法,產(chǎn)生了一種戲劇性的觀看視角。在戲劇舞臺(tái)中“屏”作為一個(gè)空間裝置,將觀看者與觀賞對(duì)象分隔開(kāi)來(lái),并對(duì)其所處的空間進(jìn)行分割、重組,營(yíng)造一個(gè)寫(xiě)意的舞臺(tái)。由此從視覺(jué)上完成了二維平面到三維立體空間的轉(zhuǎn)換。本文通過(guò)對(duì)屏風(fēng)文化意義起源的追尋,結(jié)合中國(guó)繪畫(huà)作品中屏風(fēng)這一繪畫(huà)母題的研究以及“屏”在戲劇舞臺(tái)上的運(yùn)用案例,論述詩(shī)意空間、視覺(jué)空間以及戲劇舞臺(tái)上的“屏”。屏風(fēng)在不同的空間扮演著不同的角色,它面對(duì)不同的觀眾有著不同的面孔,正如哈姆雷特一般,它的角色帶給觀眾無(wú)限的解釋多可能。它的多種樣式和多重角色形成了一個(gè)單獨(dú)的歷史傳統(tǒng)。
[Abstract]:Screen is one of the oldest instruments in China, as the traditional shielding device in our country. "the system of screen is the most ancient". It has a close origin with the national culture of our country. The function and shape of screen are constantly evolving. It embodies the aesthetic values of different times and carries the demands of a certain culture. As an object made and used in Chinese culture, screen is a kind of cultural style with Chinese language, and it has many identities. In any space in ancient China, the image of "carrying screen" symbolizes the highest position of power in the political rights and the principles of human relations, and is the person in this space who has the right to speak. As a quasi-architectural form, it separates space. In the history of art, screen has a profound influence on its form, style, metaphor and even the way of viewing. As an important calligraphy and painting system, it is the motif of painting which frequently appears in painting, and is the master identity or ideal metaphor. In ancient painting, screen, as the separation of "real" world and "illusory" world, has produced a dramatic viewing angle. As a space device in the stage of drama, the screen separates the viewer from the object of viewing, divides and reorganizes the space in which it is located, and creates a stage of freehand brushwork. Thus, the transformation from two-dimensional plane to three-dimensional space is accomplished visually. This paper discusses the poetic space, visual space and "screen" on the stage of drama through the search for the origin of the cultural meaning of screen, the study of screen as a painting motif in Chinese painting works and the application of screen on the stage of drama. Screen plays different roles in different spaces. It has different faces to different audiences. Like Hamlet, its role brings infinite possibilities to the audience. Its multiple styles and multiple roles form a separate historical tradition.
【學(xué)位授予單位】：中國(guó)戲曲學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J814.2

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本文編號(hào)：1869051