汉魏晋南北朝人物图像研究

【作者】 王伟；

【导师】 郑岩；

【作者基本信息】 中央美术学院 ， 美术学， 2012， 博士

【摘要】 汉魏晋南北朝之间的人物图像在画面特征上具有显著的差异,本文主要以汉代画像石与北魏线刻石画为研究对象,从人物“构形”与空间营造两方面对这一变化进行了探讨。首先,从人物“构形”方面,本文将汉代图像分为“第一类型”与“第二类型”,借助“平板结构”这一概念来描述“第一类型”图像中的人物形态特征。从“第二类型”开始,四分之三侧面的人物形象出现,人物形体感被塑造出来,从汉代至魏晋,这种趋势愈来愈明显。与之相应,反映早期人物形体特征的“平板结构”逐渐消失,线条造型与表现能力提升。其次,从空间营造方面,本文将条件归结为两点：图像元素形体感的产生与空间位置安排符合正常视觉习惯。汉代图像的“第一类型”中,图像元素平铺罗列,并不关注纵深空间的营造。“第二类型”的图像,人物带有形体感,图像元素进行规则排列,借助家具等元素辅助进行空间营造,画面开始产生纵深暗示。到魏晋南北朝时期,图像元素的形体感更加明显,它们之间的位置安排也趋于合理,众多的图像元素共同参与了纵深空间的营造。再次,本文就四分之三侧面人物形体特征进行了细致研究,通过具体图像构建了它的发展脉络。从汉代到魏晋南北朝的变化过程中,这一特征始终没有摆脱汉代的影响,人物形象的轮廓线保持不变,向内,“构形”线条彼此组合,人物形体感愈来愈强；向外,图像元素彼此安排,纵深空间感愈来愈强。同时,本文还考察了图像中的一种“人”字形画面结构,并对叙事性图像的叙事法进行了研究。最后,对汉魏晋南北朝之间人物图像的变化的原因进行了探究,提出了画面人物的两重属性：“情节人物”与“画面人物”,认为从汉代到魏晋南北朝的人物图像具有从“情节人物”向“画面人物”转变的趋势。图像功能在这一变化中占有极其重要的地位,其功能指向发生从外向内的变化,本文认为这种变化与汉魏晋南北朝之间社会结构调整、思想观念等方面密切相关。更多还原

【Abstract】 The figures amongst images produced during Han Dynasty, Wei and Jin Dynasty, Northern and Southern Dynasty have significant evolvement. Bearing stone reliefs in the Han Dynasty and Northern Wei as the research object, this paper explores this variety in two aspects, respectively the "configuration" of figures and the construction of space.First of all, in terms of "configuration", this paper divided the Han Dynasty image into "Type Ⅰ" and "Type Ⅱ" and described the morphological features of the "type Ⅰ" figures with the concept of "flat structure". Starting from "Type Ⅱ", Three-quarters side figures emerged and the configuration of figure’s body started to be shaped. This trend was even more obvious from the Han to the Wei and Jin Dynasty. Correspondingly,"flat structure" which reflected the physical characteristics of early figures gradually disappeared, while capabilities in the figure-shaping with drawing line as well as representation had been enhanced.Secondly, in terms of space construction, two facilities can be concluded-the generation of the sense of three-dimension and the adaption of spatial arrangement to regular visual habits. Han Figures in "type Ⅰ" were set out in a flat position while the construction of the space in depth had been ignored. Figures in "type Ⅱ", however, started to appear three-dimensional indication. The whole picture suggested dimensional space with the facilitation of regularly-arranged figural elements and furniture. When the time was connected to Wei, Jin and Northern&Southern Dynasties, the figural elements had more obvious dimensional sense. Disposal arrangement between individual elements tended to be rational. Various elements altogether participated in the spatial construction.Thirdly, detailed analysis on three-quarter profiles’physique features is also conducted in this paper. Specific icons help structure its development outline. This feature never get rid of the influence of the Han Dynasty in the evolving process from Han to Wei, Jin and Northern and Southern Dynasties. The contours of the characters remained:inwardly, the configuration lines connecting with each other conveyed more and more intense physique appearance; Outwardly, image elements arranged by each other constructed more stronger dimensional space. At the meanwhile, another pictural composition which is in the shape of "人" is also examined in this paper.Finally, the article sources the reason for the figure’s change from Han Dynasty to Wei, Jin Dynasty, Northern and Southern Dynasty. Here dual properties have been proposed, which are respectively "pictural figure" and "narrative figure". It has been considered that there existed a changing tendency from "narrative figure" to "pictural figure" amongst images from Han Dynasty to Wei, Jin Dynasty, Northern and Southern Dynasty. This function of image, clueing the variation from outside to inside, bears an extremely importance during this process. This paper claims that such a variation is closely related to social restructuring, concepts and other aspects in this period.更多还原