本文選題：太蓬山摩崖石刻 + 審美構(gòu)成　； 參考：《西華師范大學(xué)》2016年碩士論文

【摘要】：太蓬山摩崖石刻位于川北南充市境內(nèi)的營(yíng)山縣太蓬山,北鄰川北門(mén)戶(hù)巴中,主要是受唐朝崇佛風(fēng)盛和北方石窟寺影響而開(kāi)鑿的中型宗教摩崖。集建筑、雕塑、詩(shī)文、書(shū)法藝術(shù)于一身,既受北方的石窟藝術(shù)所影響又呈現(xiàn)出巨大的差異,似與川北摩崖如出一轍實(shí)有著自己獨(dú)特的個(gè)性與魅力。但對(duì)于太蓬山摩崖石刻的研究還十分有限,主要集中在考證方面,對(duì)其進(jìn)一步研究顯得尤為必要。筆者以文藝學(xué)的視角對(duì)太蓬山摩崖石刻的各類(lèi)審美文化進(jìn)行整體性研究,進(jìn)一步挖掘其宗教審美空間的特點(diǎn)及建構(gòu)方式。本文主要由三個(gè)部分構(gòu)成。第一部分,綿延千年的宗教摩崖,介紹太蓬山摩崖石刻的形成及概貌。追溯石刻文化的源流與摩崖石刻的發(fā)展,深入分析太蓬山摩崖石刻出現(xiàn)的人文環(huán)境和生態(tài)環(huán)境,乃至于最終形成何種太蓬山摩崖石刻。第二部分,多元共生的審美構(gòu)成。分別從選址布局、詩(shī)與文、造像、書(shū)法四個(gè)方面分析其審美構(gòu)成要素的形式特征。這部分的研究跨學(xué)科較多,主要用到了文學(xué)批評(píng)、圖像學(xué)、書(shū)法批評(píng)等方法。第三部分,雙重超越的宗教審美空間。獨(dú)特的選址布局、詩(shī)文、造像、書(shū)法營(yíng)造了太蓬山摩崖石刻靜穆澄懷、平澹沖和的信仰空間和人情雋永的抒情空間。這部分的研究方法主要是借助廣義敘述學(xué)的理論對(duì)太蓬山摩崖石刻的審美構(gòu)成要素進(jìn)行重新組合,以建立一個(gè)更為整體化的面貌。從而分析其審美空間的建構(gòu),直指其背后宗教道場(chǎng)的功能意義。最后得出結(jié)論:太蓬山摩崖石刻通過(guò)其獨(dú)特的審美形式:選址布局、詩(shī)文、造像、書(shū)法的相互交融、動(dòng)靜結(jié)合、虛實(shí)互補(bǔ),建構(gòu)了靜穆澄懷、平澹沖和、人情雋永的多層次宗教審美空間。宗教信仰以其建構(gòu)的宗教審美空間為紐帶得以傳播,從而進(jìn)一步形成此地獨(dú)特的禮佛之風(fēng)。
[Abstract]:Taipengshan cliff stone carving is located in Yingshan County, Nanchong City, northern Sichuan Province, near the northern Sichuan gateway Bazhong, mainly by the Tang Dynasty Chongfo Fengsheng and the Northern Cave Temple and the influence of the medium-sized religious cliffs.The art of architecture, sculpture, poetry and calligraphy is influenced by the grotto art in the north and presents a great difference. It seems to have its own unique personality and charm just like the cliff in northern Sichuan.However, the study of Taipengshan cliff stone carving is very limited, mainly focused on textual research, it is particularly necessary to further study it.From the perspective of literature and art, the author makes a holistic study of all kinds of aesthetic culture of the cliff stone carvings in Taipengshan, and further excavates the characteristics and construction methods of its religious aesthetic space.This paper consists of three parts.The first part, a thousand years of religious cliffs, introduces the formation and outline of Taipengshan Cliff Stone carving.By tracing back to the origin of stone carving culture and the development of cliff stone carving, the humanistic and ecological environment of Taipengshan cliff stone carving is deeply analyzed, and even what kind of Taipengshan cliff stone carving is finally formed.The second part, the aesthetic composition of multiple symbiosis.The formal characteristics of its aesthetic elements are analyzed from four aspects: location layout, poem and text, portrait and calligraphy.This part of the interdisciplinary research, mainly used literary criticism, graphics, calligraphy criticism and other methods.The third part, double transcendental religious aesthetic space.Unique location layout, poetry, statues, calligraphy to create the Taipengshan Cliff stone carving quiet and clear, pangchong harmony of the belief space and meaningful lyric space.This part of the research method is mainly based on the theory of generalized narratology to re-combine the aesthetic elements of Taipengshan cliff stone carving in order to establish a more integrated face.Thus, it analyzes the construction of its aesthetic space and points directly to the functional significance of the religious Taoist center behind it.Finally, the conclusion is drawn: through its unique aesthetic form: location layout, poems, statues, calligraphy, the combination of static and dynamic, the virtual reality complement each other, the construction of a quiet, calm and pangzhong,Human feelings meaningful multi-level religious aesthetic space.Religious belief is spread by its construction of religious aesthetic space, thus further forming the unique style of Buddha worship here.
【學(xué)位授予單位】：西華師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：K877.4;J292.1

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