周昉《簪花仕女图》之形象审美分析

时茹婷

doi:10.12152/j.issn.1672-2868.2019.02.011

巢湖学院学报 >

2019 , Vol. 21 >Issue 2: 74 - 79

DOI: https://doi.org/10.12152/j.issn.1672-2868.2019.02.011

文学与艺术

周昉《簪花仕女图》之形象审美分析

时茹婷

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江苏师范大学文学院

时茹婷（1995-），女，山东菏泽人，江苏师范大学文学院硕士研究生，主要从事艺术理论与批评研究。

收稿日期: 2019-02-09

网络出版日期: 2019-03-25

基金资助

江苏省研究生科研与实践创新计划项目（项目编号：2018YXJ498）

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An Aesthetic Analysis of the Image of "Beauties Wearing Flowers" by Zhou Fang

SHI Ru-ting

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School of Chinese Language and Literature, Jiangsu Normal University

Received date: 2019-02-09

Online published: 2019-03-25

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摘要

摘要：《簪花仕女图》呈现了唐代女性丰肥腴丽的艺术形象风格，这种“丰肥体”的审美形象和忧愁的神态不仅体现出美的普遍性与时代性统一的审美趣味，还体现出关陇文化与儒、道、禅思想以及胡风文化、佛教文化融合之后形成的新的审美文化范式。审美趣味和审美文化都是人们基于审美需要对社会文化的反映，也表明了社会文化对审美趣味和审美文化的制约。

关键词： 周昉; 《簪花仕女图》; 形象; 审美文化; 社会文化

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时茹婷 . 周昉《簪花仕女图》之形象审美分析[J]. 巢湖学院学报, 2019 , 21(2) : 74 -79 . DOI: 10.12152/j.issn.1672-2868.2019.02.011

Abstract

Abstract:"Beauties Wearing Flowers" presents the rich and beautiful artistic style of women in Tang Dynasty. The aesthetic image of "the plump" and the sorrowful expression not only reflects the universality of beauty and the aesthetic taste of the times, but also reflects the new aesthetic culture paradigm formed after the integration of Guanlong culture and Confucianism, Taoism, Zen thought, Hu culture and Buddhist culture. Aesthetic taste and aesthetic culture are the reflections of people's social culture based on aesthetic needs, and they indicate the constraints of social culture on aesthetic taste and aesthetic culture.

Key words： Zhou Fang; "Beauties Wearing Flowers"; image; aesthetic culture; social culture

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