論漢畫構圖的歷史影響

Historical Influence of Han Paintings' Composition

劉道廣(Dao-Guang Liu) ； 姜青蕾(Qing-Lei Liang)

《大葉學報》 13卷1期 (2004/06) Pp. 1-10

https://doi.org/10.7119/JDYU.200406.0001

摘要

漢畫作為從工藝裝飾中脫胎的早期繪畫，在從圖案到寫實的演進中，沒有脫離 ”影繪” 的裝飾構圖手法，加之漢畫工匠獨特的創作理念：要表現物件應該怎樣，而非看上去怎樣，所以漢畫構圖沿襲了工藝裝飾 ”分段平行”、”並列展開” 的構圖模式，以填充手法構成畫面，而不考慮 ”透視” 的空間表現。從漢畫像石（磚）發端的中國傳統繪畫，秉承其一貫的構圖模式，終於形成了獨特的繪畫語言和審美意識，也由此奠定中國繪畫構圖的基本樣式。

關鍵字

漢畫 ； 構圖 ； 影繪 ； 填充

並列摘要

As an embryonic form coming from the craftwork decoration, drawings of the Han Dynasty inherit the composition of a picture called ”sketch drawing” in the process of drawing evolvement from abstract to realistic. Besides this, drawings of the Han Dynasty were specially produced and invented by the craftsmen in that period, such as ”to let the objects be, instead of to let them look like what they are”. In order to realize this, drawings of the Han Dynasty follow the composition models of the craftwork decoration like ”subsecting paralleled” and ”laying out paratactically”, and compose the picture by filling in the space of blanks without paying attention to the ”perspective” proportion. The traditional Chinese drawings, following the persistent composition model of drawings of the Han Dynasty, formed a special drawing language and aesthetic notion, and established the basic composition models of Chinese traditional drawings.

並列關鍵字

drawings of the Han Dynasty ； composition of a picture ； sketch drawing ； filling in