【作者】 秦德梅；

【导师】 赵勤国；

【作者基本信息】 山东师范大学 ， 美术学， 2003， 硕士

【摘要】 壁画是人类表达情感最早使用的美术形式。从远古的法国拉斯科洞窟壁画，到古埃及壁画、古希腊壁画、古罗马壁画、中国的敦煌壁画、印度阿旃陀壁画、意大利文艺复兴壁画，直到现代派大师马蒂斯、毕加索、达利、米罗的壁画、墨西哥三杰的壁画、欧美街道壁画、中国机场壁画和中华世纪坛壁画，它以不断创新的艺术形式与永恒的艺术魅力屹立于世界美术之林。 壁画的时空建构独具特点。壁画的时空建构与一般架上绘画相比体现为一种自由性和永恒性。架上绘画一般不表现时间因素，画面是瞬间场景的凝固。架上绘画的空间一般指我们能感知到的长、宽、深三维空间。在壁画里，时间可以是过去、现在、未来的组合，也可以是一个事件发生的时间延续过程。时间因素的加入，使壁画脱离了片断性、瞬间性的一般架上绘画的局限，呈现出宏伟性和永恒性的面貌。壁画的空间不仅包括了架上绘画的三维空间，还可以把现实中不可能同时出现的空间组合在一起，也可以把想象空间、梦幻空间等不真实的空间中组合在一起。多维的时空建构是壁画具有的特殊标志。 壁画的时空建构分为三种：现实的、逻辑的时空建构；超现实的、非逻辑的时空建构；壁画与环境互生的时空建构。现实的、逻辑的时空建构是以客观现实的逻辑为基础，画中描绘的事物有一种内在联系即内在的逻辑关系，是对现实的时间、空间进行罗列、并置、组合，使之具有延续性和延展性。现实的、逻辑的时空建构强调的是内在逻辑关系，把连续的或跨度大的时间、空间同呈到画面中来，以表现丰富巨大的内容，有的画面会具有象征时空和寓意时空的意蕴。超现实的、非逻辑的时空建构是指超越了现实的、画面呈现出一种莫名其妙的、不确定意义的时空，画面多具有梦境和幻想气氛。壁画与环境互生的时空建构则是通过画面与周围环境的结合，形成新的时空关系和时空意象，更注重与环境的关系。 本文的创新点在于提出壁画的多维时空特征是区别于架上绘画的根本特征，并从图示分析入手概括出壁画的三种时空建构形式。不同时代的不同时空观，壁画的时空建构反映出人类文明进程中人的精神世界和内心结构的某种拓展和深化。用壁画的时空建构来探讨艺术创作与生命精神的某种契合，探讨生命与生存空间、宇宙空间的某种神秘关系，从而体悟生命，体悟艺术。通过新的时空观来审视复杂的壁画艺术现象，来揭示生命精神是贯穿于人类艺术创作始终的根本动因，壁画的时空观是心理时空的内在张力的外在显现。更多还原

【Abstract】 Fresco is the earliest form of expressing feelings and emotions. Fresco, from the ancient lascaux caves fresco in France, ancient Egypt, and ancient Greek, Dunhuang of China, Ajanta fresco of India, Italian Renaissance fresco to those works of modern masters like Matisse, Picasso, Dali, Miro, works of the "Three Masters" from Mexico, street fresco from some Europe and Americas, fresco found at China’s airports and Century Mandala of China, stands out in fine arts with its formal creation and everlasting glamour.There are unique features in fresco construction of time-space. Mostly, it embodies some characteristics of freedom and immutability. While generally, easel painting doesn’t express time factor and the picture is the concretion of a moment. The space in easel painting indicates the traditional three dimensions: length, width and height. In fresco painting, time may be a combination of the past, the present and the future. It may also be an expression of a continuum of time. The involvement of time rids the painting of the limitations of conventional easel painting and makes it appear to be possessed of more grandeur and immutability. Space in fresco may not only involve the three traditional dimensions, but also combines the seemingly impossible space in reality and the imagined space. Multi-dimensional construction of time and space is the unique trait of fresco.Time-space construction of Fresco may be divided into three classes: realistic, logical construction; super-realistic, non-logical construction; interactional construction of fresco in harmony with the environment. The first, based on the realistic logic, depicts the intrinsic connection between things. It is enabled to possess tractility of time by enumerating, juxtaposing and combining the time and space. It stresses the intrinsic relations and illustrates a continuous time or a large time span in order to express its enormous content. The second indicates the scene that seems totranscend the reality. The picture gives the impression of dream and illusion. The third creates new images of time and space by integrating the picture and the surrounding and it stresses its connection with the surrounding.What is new in this thesis is the point that the multi-dimensional feature is the fundamental feature that differs from the traditional easel painting. Three forms of constructing time-space are illustrated. Different perspectives at different times reflect the widening and deepening of man’s spirit and inner heart in the progress of human civilization. The thesis studies the combination harmony of artistic creation and life forces and the mythical relation between life and space-time, hence to learn more about life and art. The fundamental motivation that runs through human artistic creation ii to reveal life forces by means of examining the complicated fresco with a new view on space and time. The lime-space perspective of fresco is the externalized revelation of the internal strain of psychological lime-space.更多还原