本文關(guān)鍵詞：北齊晉陽佛教造像藝術(shù)特征研究　出處：《北京服裝學院》2013年碩士論文　論文類型：學位論文

  更多相關(guān)文章： 北齊 晉陽 佛教造像 藝術(shù)特征

【摘要】：雕塑之所以是人類最古老的藝術(shù)形式之一，原因在于雕塑的直接性——直接表達人類的精神和情感。與二維平面繪畫形式比較，雕塑是實在的、立體的、物化的，接近于現(xiàn)實的可觸可感的世界，是人類最初認識世界，表達思想和情感的實體。世界是多維的，雕塑也可以看作是人類認知世界的手段。作為表達人類知覺和情感的宗教——佛教主張“以像傳教”，通過雕塑更加形象的傳達佛教的精神。佛教造像從印度到中國，從西域到中原，經(jīng)歷了幾百年的時間，結(jié)合當?shù)靥厣纬瑟毺氐乃囆g(shù)風貌。尤其在北魏孝文帝漢化政策的推動下，中國早期傳統(tǒng)雕塑藝術(shù)的審美特征和風格樣式發(fā)生了很大的變化，對原有的審美傾向、造型方式、表達技巧產(chǎn)生深遠的影響。 北魏之后的北齊正是中國佛教造像變化發(fā)展最為劇烈的階段，規(guī)模和水平都達到了后人難以企及的高度，是佛教造像發(fā)展史中重要的轉(zhuǎn)折時期。 論文據(jù)此展開整理和分析，首先闡述了北齊晉陽的地理、歷史、社會背景問題——北齊時期的晉陽城是統(tǒng)治者高歡、高洋父子政治、軍事核心，出于統(tǒng)治者自身和國家的考慮，佛教迅速發(fā)展，并受到晉陽整體社會上下的崇拜。這樣的時代因素成為北齊晉陽佛教造像藝術(shù)長足發(fā)展的歷史依托。接著，在具體的造像藝術(shù)特征方面，晉陽佛教造像規(guī)模較大，，種類豐富，有洞窟群、有摩崖造像、有單體造像、也有佛龕組合。整體形態(tài)疏朗潤潔、淡雅端莊、彰顯著內(nèi)在的活力，透出一種寧靜、自然、含蓄，既有一種近在咫尺的親切感，也有一種遠在千里的超然之氣，淋漓盡致的展現(xiàn)了晉陽佛教造像獨特的人性美。隨后分析了這種藝術(shù)特征的成因，不僅受到印度佛教造像風格和中國傳統(tǒng)文化的共同影響，還有南北朝文化的共同作用。論述總結(jié)北齊晉陽傳統(tǒng)佛教造像背后彰顯出的中國文化精神和特質(zhì)，得出一些對當代雕塑藝術(shù)的思考，為意識形態(tài)劇烈變化下的當代雕塑做出一些歷史的總結(jié)資料，希望有借鑒作用。
[Abstract]:Sculpture is one of the oldest art forms, the direct reason is that sculpture direct expression of the human spirit and emotions. Compared with the planar form of painting, sculpture is real, three-dimensional, materialized, close to the reality of the world can be a sense of touch, is the first human understanding of the world, to express thoughts and the emotional entity. The world is multidimensional, sculpture can be seen as a means of understanding the world of mankind. As an expression of human perception and emotional religions - Buddhism advocated "as missionary", the sculpture image conveys more the spirit of Buddhism. Buddhist statues from India to Chinese, from the Western Regions to the Central Plains, has experienced hundreds of years the time, formed a unique artistic style with local characteristics. Especially in the Northern Wei Emperor Xiaowen Chinese policy, Chinese early traditional sculpture art aesthetic characteristics and style has had the very big The change has a profound influence on the original aesthetic tendency, the modeling method and the expression skill.
After the Northern Wei Qi is the most intense stage for the development of Buddhist China changes have reached, the scale and level of future generations is difficult to match the height, is the important transitional period in the history of the development of Buddhism Statues.
Accordingly the collation and analysis, first elaborated the Northern Qi Dynasty Jinyang geography, history, social background, during the Northern Qi Dynasty city of Jinyang is ruler of Gao Huan, Gao Yang and his son out of political, military and core, the rulers of their own countries, the rapid development of Buddhism, and by the whole society on the worship of Jinyang. The era of such factors become a Buddhist statues art development history based on Jinyang. Then, in terms of the specific characteristics of statues, Jinyang Buddhist statues in large scale, variety, a cave group, a cliff sculptures have single statues, also have Fokan combination. The overall shape of Shulang moiclear, elegant and dignified, reveals the inherent vitality with a quiet, natural, subtle, both have a close at hand of intimacy, there is also a far away transcendent gas, most incisive display of Jin Yang Buddhist statues unique beauty of humanity Then analyzes the causes of the art features, not only affected by the style of India Buddhist statues and China of traditional culture, and the northern and Southern Dynasties culture together. China behind summary Jinyang Buddhist statues reflect Qi traditional cultural spirit and characteristics, draw some of the contemporary sculpture art thinking, make a summary of some historical data for the dramatic changes in the ideology of contemporary sculpture, hope to have reference.

【學位授予單位】：北京服裝學院
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：K879.3

【參考文獻】

相關(guān)期刊論文 前7條

1 費泳;論南北朝后期佛像服飾的演變[J];敦煌研究;2002年02期

2 李裕群;;天龍山石窟分期研究[J];考古學報;1992年01期

3 金維諾;南梁與北齊造像的成就與影響[J];美術(shù)研究;2000年03期

4 靳生禾;謝鴻喜;;晉陽古戰(zhàn)場考察報告[J];山西大學學報(哲學社會科學版);2007年03期

5 武新華;天龍山石窟研究概述[J];文物世界;2004年06期

6 李裕群;晉陽西山大佛和童子寺大佛的初步考察[J];文物季刊;1998年01期

7 連穎俊;天龍山石窟雕塑藝術(shù)[J];文物世界;2005年01期

本文編號：1432066