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童子画,在我国古代绘画中又被称为“婴儿”、“孩儿”、“婴戏”图,它主要是以表现儿童游戏等活动为绘画题材,反映了古代的儿童形象及社会风俗,在中国传统绘画中占有着重要的地位。虽然儿童作为绘画题材肇始于战国时期,但由于不受重视,故在历代画史上的记述很少。尤其是唐代,作为童子画技法趋向写实的重要历史时期,“迄今却仍未发现唐代的民间儿童题材绘画及有关史料记载”~①。而难能可贵的是,在唐代碑刻、壁画和工艺美术品中保留下了一些运用写实手法描绘出的儿童形象,为我们了解当时的童子画水平提供了宝贵的实物资料。本文试就这些作品的造型、寓意以及对后世的影响谈些初步认识。
Boy painting is also called “Baby”, “Baby” and “Baby play” in ancient Chinese paintings. It is mainly based on the performance of children’s games and other activities as the painting theme, reflecting the ancient children Image and social customs occupy an important position in Chinese traditional painting. Although children started their paintings in the Warring States Period as subjects of painting, they were rarely mentioned in the history of ancient painting due to their neglect of attention. Especially in the Tang Dynasty, as an important historic period in which tomb-painting techniques tended to be realistic, “so far it has still not been found in the Tang Dynasty’s folk-child painting and related historical records.” The commendable is that in the Tang Dynasty inscriptions, murals and arts and crafts to retain some of the realistic use of portrayed the child’s image, as we understand the level of childhood painting provides valuable in-kind information. This article tries to talk about the preliminary design of these works, their implication and the influence on future generations.