10—16世纪东西方绘画中的典型生死形象表达  

Typical Images of Life and Death in East and West Paintings in the 10th—16th Centuries

作　　者：梁诗琪 Liang Shiqi(Macao University of Science and Technology,Macao,China 999078)

机构地区：[1]澳门科技大学,中国澳门999078

出　　处：《西部学刊》2025年第8期169-172,共4页Journal of Western

摘　　要：对中国宋代与西方13—16世纪开始的绘画中生死母题绘画的比较研究,发现死亡这一主题贯穿于东西方各个历史时期,表现方式和内涵随着社会环境和文化背景的变化而不断演进。中国生死主题以祈求“生”为终极目标,通过对神灵崇拜、祭祀来避免灾难。在形象的描绘中采用面具、傀儡等形式进行戏剧化呈现。而西方中世纪开始的死亡主题绘画多以宗教教育和警示为主,用直接的骷髅或死亡形象来表现。文艺复兴时期则更加关注人性和个体命运,近现代则将死亡主题拓展到社会、政治和心理等多个层面。经由这些作品,我们不仅可以感受到死亡的普遍性和不可避免性,也可以看到人类对生命和死亡的复杂情感和深刻思考。A comparative study of the theme of life and death in Chinese Song Dynasty paintings and Western paintings in the 13th-16th centuries reveals that the theme of death runs throughout various historical periods in both East and West.The modes of expression and their meanings have evolved with changes in social environments and cultural contexts.In China,the theme of life and death is ultimately about praying for“life”,and people avoid disasters through the worship and sacrifice for deities.In the depiction of image,masks and puppets are employed to present a dramatic effect.In contrast,Western medieval death-themed paintings are predominantly religious in nature,serving educational and cautionary purposes and often directly depicting skeletons or death imagery.During the Renaissance,there was a shift towards a greater focus on humanity and individual destiny.In modern times,the theme of death has been extended to encompass such dimensions as society,politics,and psychology.Through these works,we can not only perceive the universality and inevitability of death,but also witness the complex emotions and profound reflections that humans hold toward life and death.

关 键 词：东西方比较 生死形象 图像表达 

分 类 号：J2[艺术—美术]