明清时期清供图中青铜器的技法表现研究

• 作者： 张芸 ¹⁰⁶⁶³
• 作者单位：
  1.  贵州师范大学
• 提交时间：2024-07-03

摘要: 在明清时期由于社会经济的空前发展，人们对艺术的需求大量增加，导致艺术市场的繁荣。清供图能够表达吉祥美好的寓意和文人高尚的品格，青铜器常常作为插花容器出现在清供图中，而深受文人阶层和市民阶层的喜爱。这个时期，撞水撞色、全形拓以及光影表现等新技法开始运用于画面。撞水撞色技法为描绘青铜器的锈色提供了一种有效手段，增强了青铜器的层次感和艺术韵味，塑造了虚实交错的视觉感受。全形拓技法通过精确地描绘青铜器的形貌、质感和铭文，展现了历史的古雅品味。光影的巧妙运用使得青铜器和花卉在画面中更加生动立体，并突出其真实感。这些技法在明清时期是一种创新，具有一定的时代意义。

Abstract: In the Ming and Qing dynasties, due to the unprecedented development of social economy, people's demand for art increased greatly, which led to the prosperity of the art market. The picture can express the auspicious and beautiful meaning and the noble character of the literati. Bronze wares often appear in the picture as flowerpot, and are deeply appreciated by the literati and the civic class. During this period, new techniques such as color collision, full shape expansion and light and shadow performance began to be applied to the picture. The technique of water collision and color collision provides an effective means to depict the rust color of bronze ware, enhances the sense of hierarchy and artistic charm of bronze ware, and shapes the visual feeling of the interweaving of virtual and real things. The full shape extension technique accurately depicts the appearance, texture and inscription of the bronze ware, showing the quaint taste of history. The clever use of light and shadow makes the bronze ware and flowers more vivid and stereoscopic in the picture, and highlights its sense of reality. These techniques were a kind of innovation in the Ming and Qing dynasties, and had a certain significance of the Times.

• 分类： 艺术学 >> 美术与书法
• 稿件状态： 已被期刊录用
• 引用： PSSXiv:202407.00130 (或此版本 PSSXiv:202407.00130V1)
  DOI:10.12451/202407.00130
  CSTR:32012.36.PSSXiv.202407.00130
• 推荐引用方式： 张芸.明清时期清供图中青铜器的技法表现研究.哲学社会科学预印本平台:https://zsyyb.cn/abs/202407.00130.[PSSXiv:202407.00130V1] (点此复制)