【作者】 高磊；

【导师】 董晓畔；

【作者基本信息】 哈尔滨师范大学 ， 美术学， 2016， 硕士

【摘要】 明朝时期,中国的绘画艺术发展快速,人物画在其中占据了重要的位置。事实上,不论是从中国整个封建时期的人物画来看,还是从明清时期的人物画来看,明朝时期特别是明朝晚期的人物画在整个人物画发展中都别具一格。这种独特性既体现在这些人物画反映了一个朝代的历史更替和社会特征,也反映在日渐衰落的人物画在明末时期重整旗鼓,导致人物画在历史长河中又重新经历了一次“中兴”,在明清绘画日渐式微的情况下又重返绘画舞台的制高点。在这些木刻版画、水墨艺术中出现了大量的人物,特别是武将形象值得人寻味。与此同时,与我国隔海相望的日本“浮世绘”艺术在其前战国时代受益而转型,并呈现出更多的大和民族形象感。在这个时期,禅宗的传播以及武士道的发展也使很多武将人物画流传。因此,本文即从武将形象的画面内容对比分析为切入点,比较中国明代与同时期日本战国时期武将形象,进而剖析两国不同的民族性格及审美差异,从理论上使学术界对中国明代与日本战国时期艺术作品中武将形象的比较研究更加深入具体透彻。本文主要研究中国明代与日本战国时期艺术作品中武将形象在人物形态、线条、色彩方面存在着差异性。具体来说,本文的研究内容主要分为下列几部分:首先在绪论中介绍有关本课题的研究意义与学术价值、国内外研究现状分析、研究方法和研究目的以及研究思路与论文结构等;第二章为中国明代艺术作品中的武将形象概述;第三章阐述了日本战国时期艺术作品中的武将形象;第四章阐述了中国明代与日本战国时期艺术作品中武将形象的对比分析;第五章对中国明代与日本战国时期艺术作品中武将形象的美学审思。最后是全文的的结论。更多还原

【Abstract】 The Ming Dynasty,China painting art rapid development,figure painting occupied an important position in the.In fact,whether it is from the point of view of the entire Chinese feudal period of the figure painting or from the point of view of the Ming and Qing Dynasties figure painting,the Ming Dynasty especially the late Ming Dynasty,the figure painting in the development of figure painting is unique.This uniqueness embodies a dynasty historical change and social feature is reflected in the figures,is also reflected in the fading figure painting regrouped in late Ming Dynasty,resulting in figure painting in history again experienced a "resurgence",and return to the commanding heights of the painting stage in the paintings of the Ming and Qing Dynasties declining.In these woodblock prints,ink art in the emergence of a large number of people,especially the general image worth ruminate.At the same time,arts of Japanese "Ukiyo-e" with China across the sea in front of the Warring States period benefit and transformation,and presents a more major and national image sense.During this period,the spread of the development of Zen and Bushido are many generals painting spread.So,this article from the generals image picture content contrast analysis as the breakthrough point,compared to the Ming Dynasty of China and Japan during the Warring States period generals image,and then analyzes the two countries with different national character and aesthetic differences between,in theory the academia generals image in the Ming Dynasty of China and Japan during the Warring States period works of art in the comparative study of more detailed and thorough.The main purpose of this paper is to study the Ming Dynasty of China and Japan during the Warring States period works of art in generals image in the aspects of characters,line,color,there is a difference.Specifically,the research content of this paper is divided into the following several parts: firstly,the introduction introduced this topic research significance and academic value,analysis of the domestic and foreign research present situation,research methods and research purposes as well as the research mentality and the structure of the;the second chapter is the summary of the generals image in Chinese Ming Dynasty art works;the third chapter describes the image of Japan’s Warring States period works of art in the military commanders;the fourth chapter expounds the comparative analysis of the image of generals in the Ming Dynasty of China and Japan during the Warring States period works of art;the fifth chapter to the image of the generals in the Ming Dynasty of China and Japan during the Warring States period works of art aesthetic thinking.The last is the conclusion of the whole paper.更多还原