论文部分内容阅读
本文以唐代懿德太子墓中的《阙楼图》为例,探讨画格与斜线是否系统性地运用于唐代建筑壁画的绘制,其方法为何。并从图面绘制方法这个角度探讨该壁画中四栋建筑物的位置关系以及Z字城墙的图面作用。结果发现“画格”用于图面的“经营位置”以及作为建筑尺寸模数;“一去百斜”和“一斜百随”等斜线则绘制出建筑物的“向背分明”。四栋建筑中甲、乙、丙为一组子母阙;丁建筑位于子母阙之后与子母阙的中轴线垂直;Z字形城墙符合同时期陵墓建筑城墙的画法,在此壁画中提供了较大的人物绘制空间,也提供相邻不同题材的图面过渡空间。
In this paper, the “Que floor map” in Prince Edward tomb in the Tang Dynasty was taken as an example to discuss whether the grids and slashes are systematically applied to the drawing of building murals in the Tang Dynasty. And from the perspective of the drawing method, this paper discusses the positional relationship of the four buildings in the mural and the picture function of the Z-shaped wall. As a result, it was found that the “grid” is used for the “business location” of the drawing surface and the slash as the building size modulus; “one to one” and “one to one” Material “back to clearly ”. Four buildings in A, B and C for a group of mother Que; Ding Jianzhu located in the child after the Que and the vertical axis of the child Que; Z-shaped city wall conforms to the same period the mausoleum wall painting method, provided in this mural Larger figures draw space, but also provide the adjacent different theme of the transition surface space.