中国明末清初时期和韩国朝鲜中后期写实性肖像画的比较研究
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摘要
本篇论文主要内容是对中国明末清初时期和朝鲜中后期的写实性肖像画的绘画技法和形象表现方式的比较研究。明末清初和朝鲜中后期是两国绘画史上写实性肖像画的技法发展的主要时期。中国,大致16世纪到18世纪的明末清初时期写实性肖像画在宫廷,民间里广范围发展,主要做纪念或做祭祀的功能制作。韩国,朝鲜时代,由于儒家观念是当时的政治,社会理念的思想基础,17,18世纪在宫廷和官吏的统治阶级里发展的韩国的写实性肖像画,其功能是跟中国的一样做祭祀为主。
画面中心部位出现大三角形构图是两国写实性肖像画的共同构图特点。以人物主人公为主出现的三角形构图,安定,均衡,灵活是其构图基本特点。由于这些特点符合肖像画里人物精神的表现意图,所以中国早期在宫廷肖像画上出现,继承到明末清初的民间肖像画的制作上普遍利用,助理于形成肖像画造型上的符号化,典型化的现象。
因为这样肖像画的构图里进行了浓重的典型化,肖像画的写实性,个体性和绘画性的价值就都集中于其脸面部。按照五官,皮肤状态,表情肌的三个主要标准来细部分析的调查结果,发现两国肖像画家给对象观察方式和“取神”部位上发生区别。中国的肖像画,正面像为主,不管是用单线平涂的传统工笔法或用以色彩为主的近代画法,五官结构上人物个性表现得很明显。而且随着时间变化,刻画技法的准确度日趋增加,到了明末清初时期的中国肖像画,脸面骨骼,咬肌肉,笑肌等的人面结构刻画得非常仔细,变得越来越靠近解剖学的造型方式。中国写实主义肖像画的发展的主要特点,第一是肖像画法的理论化和实用,第二是中西结合的强调立体感的渲染技法发展的成果。
描绘向左半侧面人物为主流的朝鲜肖像画,其制作方式是多于依靠长时间观察描写对象。充实对其记录性的目的,充实刻画从脸部上观察到的皮肤特点或老化症状是17世纪18世纪朝鲜肖像画的特点。时间往前,五官上个性显得更加明显,额肌,眉间的皱眉肌的描写变得更加自然。这些写实主义技法发展跟17,18世纪中韩交易中,当时朝鲜的肖像画家可能接触到中国肖像画的写实技法的可能性不能忽视。更重要的是,对中国新肖像画风的感兴趣能转到使用的阶段,朝鲜后期的社会意识上也出现变化,脱离过去的儒教的理想主义而转成更注重现实,这样当时社会环境变化也贡献给绘画画风上出现更加写实性的面貌。再说,朝鲜后期的写实的肖像画画风的成立上,这两个外部和内部因素任作为重要启点作用。
This essay gives a through analysis of the comparison in a feature of each realistic painting techniques and a difference of represented human form betw een Chinese traditional realistic portraits at the end of the Ming Dynasty and t he beginning the Qing Dynasty and Korean traditional realistic portraits at the end of the Joseon Dynasty.
The main period of realistic painting technique development happened in China earlier than in Korea.A main purpose to produce a private portrait in China and Korea was to perform a religion function in memory of their own ancients.
In China painting a private portrait was widely popular from the Royal to the Commons,in any type of social levels.However,in Korea,because of the Confucianism performing as a social,political concept an overall Chose n Dynasty period in Korea,painting portrait was only for religious reason an d most of these were for the Royal and the ruling classes in the late 17~(th) century and 18th century.
A triangle composition in the middle of a canvas is a common feature of traditional portraits in China and Korea.An invisible triangle constituted by the model's part of body give 'be settling,well- balanced,more flexible' visual effects in a portrait canvas.It is also the most suitable position for representing one's inner character,(called as "jing-shen" in Chinese art theory) so already adopted by earlier court portrait artists in China and at last,this kind of composition became the archetype of a portrait composition in ancient China and Korea.
Verisimilitude of portrait is mainly condensed into painted human face.The five sense organs,such as eyes,a nose,a mouth,ears and eyebrows,skin condition and mimische Muskeln(muscles for making facial expressions), established as the main point of observation of painted face for this analysis, reached to results in a difference of these two different countries' realistic techniques begun from a difference of observation point.Most of Chinese portrait,head to front,irrespective of skills have been developed in process of time.For instance,a skeletal structure were able to show typical personality and the movement of mouth muscles for a near smile accurately described as almost close to the human anatomy.A theory of the art of portrait and a combination Chinese and Western painting skill for three-dimensional effect are important elements for basis.
For Korean portraits,most of them are to leftward half side view,is for atypical work process that takes a long time observation before beginning to drawn vividly.It become describing a person in as stronger documentary style,as Korean portrait artists did not omit any symptoms of skin aging, but being faithful to draw objective truth found through a long time observat ion.
As time goes by,in Korean portrait,more concrete and more natural techniques also gradually improved by describing the five sense organs and draws expression muscles such as musculus frontail and musculus depress glabella.Realistic skill development in Korea in 17c and 18c would be related to contact with Chinese Portrait art through foreign trade.However, more important this is,The social belief change into a more realistic point of view,and this also comprehensively worked for helping the build of realistic painting skill by these inner and outer causes,Korean realistic paintings were able to meet a golden day.
画面中心部位出现大三角形构图是两国写实性肖像画的共同构图特点。以人物主人公为主出现的三角形构图,安定,均衡,灵活是其构图基本特点。由于这些特点符合肖像画里人物精神的表现意图,所以中国早期在宫廷肖像画上出现,继承到明末清初的民间肖像画的制作上普遍利用,助理于形成肖像画造型上的符号化,典型化的现象。
因为这样肖像画的构图里进行了浓重的典型化,肖像画的写实性,个体性和绘画性的价值就都集中于其脸面部。按照五官,皮肤状态,表情肌的三个主要标准来细部分析的调查结果,发现两国肖像画家给对象观察方式和“取神”部位上发生区别。中国的肖像画,正面像为主,不管是用单线平涂的传统工笔法或用以色彩为主的近代画法,五官结构上人物个性表现得很明显。而且随着时间变化,刻画技法的准确度日趋增加,到了明末清初时期的中国肖像画,脸面骨骼,咬肌肉,笑肌等的人面结构刻画得非常仔细,变得越来越靠近解剖学的造型方式。中国写实主义肖像画的发展的主要特点,第一是肖像画法的理论化和实用,第二是中西结合的强调立体感的渲染技法发展的成果。
描绘向左半侧面人物为主流的朝鲜肖像画,其制作方式是多于依靠长时间观察描写对象。充实对其记录性的目的,充实刻画从脸部上观察到的皮肤特点或老化症状是17世纪18世纪朝鲜肖像画的特点。时间往前,五官上个性显得更加明显,额肌,眉间的皱眉肌的描写变得更加自然。这些写实主义技法发展跟17,18世纪中韩交易中,当时朝鲜的肖像画家可能接触到中国肖像画的写实技法的可能性不能忽视。更重要的是,对中国新肖像画风的感兴趣能转到使用的阶段,朝鲜后期的社会意识上也出现变化,脱离过去的儒教的理想主义而转成更注重现实,这样当时社会环境变化也贡献给绘画画风上出现更加写实性的面貌。再说,朝鲜后期的写实的肖像画画风的成立上,这两个外部和内部因素任作为重要启点作用。
This essay gives a through analysis of the comparison in a feature of each realistic painting techniques and a difference of represented human form betw een Chinese traditional realistic portraits at the end of the Ming Dynasty and t he beginning the Qing Dynasty and Korean traditional realistic portraits at the end of the Joseon Dynasty.
The main period of realistic painting technique development happened in China earlier than in Korea.A main purpose to produce a private portrait in China and Korea was to perform a religion function in memory of their own ancients.
In China painting a private portrait was widely popular from the Royal to the Commons,in any type of social levels.However,in Korea,because of the Confucianism performing as a social,political concept an overall Chose n Dynasty period in Korea,painting portrait was only for religious reason an d most of these were for the Royal and the ruling classes in the late 17~(th) century and 18th century.
A triangle composition in the middle of a canvas is a common feature of traditional portraits in China and Korea.An invisible triangle constituted by the model's part of body give 'be settling,well- balanced,more flexible' visual effects in a portrait canvas.It is also the most suitable position for representing one's inner character,(called as "jing-shen" in Chinese art theory) so already adopted by earlier court portrait artists in China and at last,this kind of composition became the archetype of a portrait composition in ancient China and Korea.
Verisimilitude of portrait is mainly condensed into painted human face.The five sense organs,such as eyes,a nose,a mouth,ears and eyebrows,skin condition and mimische Muskeln(muscles for making facial expressions), established as the main point of observation of painted face for this analysis, reached to results in a difference of these two different countries' realistic techniques begun from a difference of observation point.Most of Chinese portrait,head to front,irrespective of skills have been developed in process of time.For instance,a skeletal structure were able to show typical personality and the movement of mouth muscles for a near smile accurately described as almost close to the human anatomy.A theory of the art of portrait and a combination Chinese and Western painting skill for three-dimensional effect are important elements for basis.
For Korean portraits,most of them are to leftward half side view,is for atypical work process that takes a long time observation before beginning to drawn vividly.It become describing a person in as stronger documentary style,as Korean portrait artists did not omit any symptoms of skin aging, but being faithful to draw objective truth found through a long time observat ion.
As time goes by,in Korean portrait,more concrete and more natural techniques also gradually improved by describing the five sense organs and draws expression muscles such as musculus frontail and musculus depress glabella.Realistic skill development in Korea in 17c and 18c would be related to contact with Chinese Portrait art through foreign trade.However, more important this is,The social belief change into a more realistic point of view,and this also comprehensively worked for helping the build of realistic painting skill by these inner and outer causes,Korean realistic paintings were able to meet a golden day.
引文
1 单国强.‘中国美术图典·肖像画'岭南美术出版社,2000,参考。
2 单国强.‘中国美术图典·肖像画'岭南美术出版社,2000。30p参考。
3 ‘人体姿态于解剖'郏宝雄 主编,湖南美术出版社,1998,参考。
7 ‘顧氏畫譜与朝鲜后期绘画'松惠境 著。美术史研究会.2005.参考。‘我们国家的古画'李東主 著Pakyongsa.1981.pp62-63
[1]单国强 著。「中国美术图典·肖像画」,岭南美术出版社,2000。
[2]张启亚 著。「中国画的灵魂/哲理性」,文物出版社,1994。
[3]夏硕琦 著。「中国工笔画全集」,云南美术出版社,2003。
[4]石谷风著。「徽州容像艺术」,安徽美术出版社,2001。
[5]王伯敏 著。「中国美术通史」,山东教育出版社,1996。
[6]台湾国立故宫博物院编 香港读 著。「故宫藏画精选」,文摘亚洲有限公司,1981。
[7]杨新 主编。「明清肖像画」,上海科学技术出版社,2008。
[8]何平华 著。「中国古代肖像画精选」,江西美术出版社,2003。
[9]瞿林东,张希,胡绳武等编。「中华文明史」,河北教育出版社,1994。
[10]湖南美术出版社编。「艺用人体解剖」,湖南美术出版社,1998。
[11]王德年 著。「中国人物画技法」,西南师范大学出版,1996。
[12]张启文 著。「创作与构图」,西南师范大学出版社,2000。
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[1]单国强著。 ‘肖像画类型刍议',故宫博物院院刊,1990(04)。
[2]单国强著。 ‘肖像画历史概述',故宫博物院院刊,1997(02).。
[3]杨新著。 ‘肖像画与相术',故宫博物院院刊,2005(06)。
[4]杨新著。 ‘曾鲸和明代肖像画',故宫博物院院刊62期,1993。
[5]华人德著。‘中国历代人物图像概述',大学图书馆学报,2004(05)。
[6]余辉著。 ‘十七,八世纪的市民肖像画',故宫博物院院刊95期,2001(03)。
[1]#12
[2]#12
[3]#12
[4]#12
2 单国强.‘中国美术图典·肖像画'岭南美术出版社,2000。30p参考。
3 ‘人体姿态于解剖'郏宝雄 主编,湖南美术出版社,1998,参考。
7 ‘顧氏畫譜与朝鲜后期绘画'松惠境 著。美术史研究会.2005.参考。‘我们国家的古画'李東主 著Pakyongsa.1981.pp62-63
[1]单国强 著。「中国美术图典·肖像画」,岭南美术出版社,2000。
[2]张启亚 著。「中国画的灵魂/哲理性」,文物出版社,1994。
[3]夏硕琦 著。「中国工笔画全集」,云南美术出版社,2003。
[4]石谷风著。「徽州容像艺术」,安徽美术出版社,2001。
[5]王伯敏 著。「中国美术通史」,山东教育出版社,1996。
[6]台湾国立故宫博物院编 香港读 著。「故宫藏画精选」,文摘亚洲有限公司,1981。
[7]杨新 主编。「明清肖像画」,上海科学技术出版社,2008。
[8]何平华 著。「中国古代肖像画精选」,江西美术出版社,2003。
[9]瞿林东,张希,胡绳武等编。「中华文明史」,河北教育出版社,1994。
[10]湖南美术出版社编。「艺用人体解剖」,湖南美术出版社,1998。
[11]王德年 著。「中国人物画技法」,西南师范大学出版,1996。
[12]张启文 著。「创作与构图」,西南师范大学出版社,2000。
[1]#12
[2]#12
[3]#12
[4]#12
[5]#12
[6]#12
[7]#12
[8]#12
[1]单国强著。 ‘肖像画类型刍议',故宫博物院院刊,1990(04)。
[2]单国强著。 ‘肖像画历史概述',故宫博物院院刊,1997(02).。
[3]杨新著。 ‘肖像画与相术',故宫博物院院刊,2005(06)。
[4]杨新著。 ‘曾鲸和明代肖像画',故宫博物院院刊62期,1993。
[5]华人德著。‘中国历代人物图像概述',大学图书馆学报,2004(05)。
[6]余辉著。 ‘十七,八世纪的市民肖像画',故宫博物院院刊95期,2001(03)。
[1]#12
[2]#12
[3]#12
[4]#12