浅析周昉——《簪花仕女图》绘画风格及人物特征.doc

浅析周昉——《簪花仕女图》绘画风格及人物特征 摘要 纵观中国绘画史，中国人物工笔画的发展可追溯到原始社会时期，起初人们运用简单的线条记录人的生活轨迹和简单的几何图形，逐渐地人们开始制作类似毛笔作为绘画工具，并用于文字的记录和图画记录。直到东晋人物绘画日趋成熟，当时典型代表顾恺之，他所绘的《女史箴图》，也是传世最早的人物题材卷轴画，他主张“以形写神”绘画者不能只追求外在形象相似而是形神统一，同时这一理论也为后世工笔人物画提供了理论基础。到唐初阎立本的《步辇图》，画家通过对人物表情的细节刻画，以及在场景布置方面体现画面中人物的地位，画面整体色调统一，极大地反映出当时艺术水平。随后出现张萱和周昉这样的画家，他们的绘画题材大多为体态较为丰满的仕女形象。他们在用色和造型都有一定突破，充分地将他们独特的时代性和风格化表现出来。这种特性也是独一无二的，纵观绘画史没有任何一个时代与之相似。同时如果将唐代同时期作品进行对比，可以发现这些作品不论是在人物造型方面还是题材内容和色调运用上，都有一定程度的趋同性。《簪花仕女图》对后代的画家有着深远的影响，所以它也值得我们去研究。在研究《簪花仕女图》之前首先要了解当时的创作环境和创作背景，只有先了解作品的创作本源才能够更好的研究此幅作品。本文主要研究内容是唐代周昉所绘的《簪花仕女图》，主要分为三个方面；第一部分首先了解此幅作品的作者他的生平经历和他作品的创作背景，第二部分将主要了解作品的造型特点（包括人物造型、画面用色、画面的构图），第三部分主要了解画面独特的构图的成因。 关键词：工笔仕女画；《簪花仕女图》；仕女形象；颜色；线条  Abstract Throughout the history of Chinese painting, the development of Chinese characters painting with meticulous detail can be traced back Meticulous primitive society, people are beginning to use simple lines and track record of people抯 life simple geometry , gradually people began making similar brush as a drawing tool for word records and record pictures . Until the Eastern Jin Dynasty figure painting matures , when the typical Gu Kai Zhi , he painted the history of women Zhen map , also handed down the first character theme scroll painting , while his Wei Jin Sheng flow paintings like mentioned : to write to God and empty in fact for an elephant in the Ming Mei, not if Gordon also speaks on the he argued , to write to God , not just the pursuit of painting the external image of similar shape but the unity of God , but also for the future generations of this theory meticulous portraits provide a theoretical basis. Early Tang Yan Liben to Step Revealed map , the artist s expression through the details of the characters portrayed , and the scene is reflected in the status screen layout aspects figures , the overall tone of a unified picture dramatically reflected the artistic level. Then there such a painter Zhang Xuan and Zhou Fang , their painting subjects are mostly rel