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艺术的光彩是不会随时间的流逝而消失的。两千多年前的汉代画像石画像砖,在今天看来,仍然以它独有的特色,焕发着不灭的光辉,显示着不朽的艺术魅力。它是我国文化宝库中的珍贵遗产,在民族艺术发展史上占有重要的地位。它不仅使我们认识祖国悠久辉煌的艺术传统,而且使我们能形象地了解汉代的社会生活和意识形态。 画像石画像砖是一种具有鲜明绘制目的和创作意识的石刻艺术,产生于汉代“谓死如生”的人生观和“厚葬”的风气中。作为一种祠堂、墓室石刻,本来是一种费资耗财,崇拜鬼神的迷信活动的产物,而且画像石画像砖作为一种“画”,它的欣赏主体是死人的灵魂而非生人,但画像石刻艺术所体现出来的思想内容却是符合生者的意识和愿望,因此,实际上的欣赏者还是生人。这就决定了画像石刻是在两汉特定的政治、经济、文化、思想意识下出现的一种特殊的艺术形式,是我国传统之中重死者、轻活人、敬老朽、贱少壮的巫术文化的重要组成部分。 汉画像石刻艺术作为一种审美意识形态的出现,它的社会功能三个方面,即认识作用、教育作用、审美作刚不是孤立存在的,尽管它的教育作用大于其他两个方面的作用,但是无沦哪一方面的作用的意义都是以社会功能整体的存在为前提的,这就使得画像石刻艺术的认识作用、教育作用、审
The luster of art will not disappear with the passage of time. The Han Dynasty stone statues brick two thousand years ago still seem to today’s unique brilliance with its immortal gloriousness and its immortal artistic charm. It is a precious heritage in the cultural treasure house of our country and occupies an important position in the history of the development of ethnic arts. It not only enables us to recognize the glorious artistic tradition of our motherland, but also enables us to understand the social life and ideology of the Han Dynasty vividly. Portrait Stone Image Brick is a kind of stone art with vivid drawing purpose and creative consciousness. It originated from the life outlook of “life as death” and the burial customs of the Han Dynasty. As a kind of ancestral temple and tombstone stone carving, it was a product of the superstition and activity that cost money and money and worshiped ghosts and gods. As a kind of “painting”, the portrait painting stone was the soul of the deceased rather than the stranger, However, the ideological content embodied by the portrait stone carving is consistent with the consciousness and aspirations of the living. Therefore, the actual viewer is still a stranger. This determines that the portrait stone carving is a special art form that emerges under the specific politics, economy, culture and ideology of the two Han dynasties. It is a kind of witchcraft culture that is heavy dead, light living, respecting old and cheap in our country’s tradition important parts of. As an appearance of aesthetic ideology, Han Dynasty stone carving art has three aspects of social function, namely, cognitive function, educational function and aesthetic function, which are not isolated in isolation. Although its educational function is more effective than the other two aspects, On the premise of the existence of the social function as a whole, the significance of the role of non-depravity makes the cognitive function of the art of stone picture, the role of education,