图像学与汉画像研究  

Iconology & Study of Pictorial Art of the Han Dynasty

作　　者：刘伟冬[1] 

机构地区：[1]南京艺术学院,江苏南京210013

出　　处：《南京艺术学院学报（美术与设计）》2013年第6期1-12,221,共12页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：2012年度国家社科基金艺术学项目国家重点项目<图像学与中国美术史研究>(批准号12AF006)

摘　　要：在汉画研究领域中,考古学与艺术学呈现出相互影响和渗透的局面。艺术史的研究更倾向于落向实处,研究者的兴趣在于去寻找对作品、人和历史的具体的解释,而这些解释都离不开考古之实物材料的支撑,图像学恰恰是在艺术和考古之间架起了桥梁。本文立足于对汉画像研究学术传统的综述,疏理出汉画像研究之学术史各阶段不同的研究范式,并就图像学方法在汉画像研究中的不同倾向和思路做了介绍和分析。文章还重点通过武梁祠这一典型个案的学术史为例,关注图像学方法在汉画像研究中的运用情况,进而指出,图像学在汉画像阐释中的前提条件、使用原则及其局限性。In the field of researching painting in Han,archeology and art study are in the situation of mutual influence and permeation.The study of art history tends more to settle down to the reality,and the researchers,interests lie in seeking for specific interpretation of works,people and history,but the interpretation does not work without the support of archeological materials,and iconology is just the bridge between art and archeology.Standing on the general statement of academic tradition of the research of pictorial arts in Han,this thesis finds out different study paradigm in different stage of the academic history of it.and introduces and analyzes the tendencies and thinking of the method of iconology in the research of pictorial arts in Han.Taking emphasis on the typical case of the academic history of Wu Liang Shrine,this thesis concerns on the application of the method of iconology in the research of pictorial art in Han,and points out the presumption,application rules and limitation of iconology in the interpretation of pictorial art in Han.

关 键 词：图像学 汉画像 方法论 学术史 

分 类 号：J0-03[艺术—艺术理论]