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概括来说,中国绘画艺术是由文人画、宫廷画以及民间画三者共同组成的独特绘画艺术,每一类型都有其独特的审美理念和表达方式,在不同的历史时期,所呈现的比例也不尽相同。由于各种原因,前两者在中国美术史上的地位较重,而民间美术往往独立于正统美术之外,今人只能依靠其保存现状来进行研究。本文所研究的敦煌莫高窟壁画,其重要性就在于,莫高窟自南北朝十六国前秦建元二年(366年)开窟以来,历经北魏、东西魏、北齐、北周、隋、唐、宋、元等朝代,都保存了大量的壁画艺术珍品,详细考察之下不难发现,其作品与相关历史时期的大的审美倾向与格局息息相关,无论是内在理念还是外在表达方法似乎都能在同一时期的整体中国美术大趋势中找到对应,而这恰巧又在另一方面使中国绘画在内外表达方面更加完善。因此本文在研究敦煌莫高窟壁画的同时,并未忽略其与中国美术史的整体关系。
In summary, Chinese painting is a unique painting by the literati painting, painting and civil court composed of three paintings, each type has its own unique aesthetic ideas and expressions, in different historical periods, presented proportion Not the same. Due to various reasons, the former two have a heavier position in the history of Chinese art, and folk art is often independent of the orthodox arts. Therefore, people can only rely on their preservation status to conduct research. The Mogao Grottoes in Dunhuang murals of this study, its importance lies in the Mogao Grottoes from sixteen countries since the Northern and Southern Former Qin Jian-yuan two years (366 years) open cave, after the Northern Wei, Western Wei, Northern Qi Dynasty, Northern Zhou, Sui, Tang, Song and yuan dynasties, have saved a lot of mural art treasures, under detailed investigation is not difficult to find, great aesthetic tendencies and patterns that works closely with the relevant historical periods, whether internal or external concept expression methods seem to be able In the same period, the overall trend of Chinese fine arts found its correspondence, which coincided with the fact that on the other hand, it made Chinese painting more perfect both inside and outside the country. Therefore, while studying the murals of Mogao Grottoes at Dunhuang, this dissertation does not neglect the overall relationship with Chinese art history.