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“三宝珠吉祥革”彩画,现全国各古建筑群中存留甚少,其原因是该彩画只流行于“后金”至顺治年间,康熙后同别类彩画融合,产生“龙草和玺”彩画。目前,国内古建界对“三宝珠吉祥草”彩画的研究是一个空白。因古建彩画装饰同古建筑一样是文化的载体,这些古典的艺术图案,就是历史文化符号,蕴含着丰富的民族文化艺术,有较高的历史价值。为此,笔者以三宝珠吉祥草彩画的产生、发展以及何年从沈阳传入关内,后同和玺彩画融合又产生龙草和玺彩画等问题为论述重点,探讨清初关内外宫殿彩画的相互影响及该彩画的源流与演变,并进一步证明2005年北京故宫午门修改外檐彩画的依据及其科学性。
“Sambo beads auspicious leather ” painting, now the country’s ancient buildings remain very small, the reason is that the painting only popular in the “gold” to Shunzhi years, after the Kangxi fusion with other types of color painting, Produced “dragon grass and seal ” painting. At present, the ancient Chinese community on the “Sambo beads auspicious grass” painting is a blank study. The decoration of ancient buildings and paintings is the same as the ancient culture, which is the carrier of culture. These classical art patterns are the symbol of history and culture, which contains rich national culture and art and has high historical value. To this end, the author of the auspicious Samaritan Sassoui production and development, as well as what year from Shenyang into the customs, after the same with the Xi and color painting and produce dragon grass and Xi Paintings and other issues as the focus of discussion, The mutual influence of colorful paintings and the origins and evolution of the colorful paintings, and further proves the basis and scientific nature of the revision of the outer eaves of Beijing’s Forbidden City in 2005.