本文選題：藝術(shù)表現(xiàn)語(yǔ)言 + 色彩��； 參考：《東北師范大學(xué)》2011年碩士論文

【摘要】：中國(guó)的文化長(zhǎng)河蔓延幾千年,人們?cè)诓粩嗟奶剿鳟?dāng)中發(fā)現(xiàn)了許許多多令人驚奇的歷史文化,敦煌石窟壁畫(huà)藝術(shù)就是我國(guó)歷史遺跡中的瑰寶。在沒(méi)有研究學(xué)習(xí)敦煌壁畫(huà)藝術(shù)之前,中國(guó)歷史給我的印象是古板的是封閉的,幸好這座記錄了中國(guó)一千六百多年歷史的文化博物館改變了我之前的淺薄看法。 敦煌石窟藝術(shù)匯聚了多種文化因素,在敦煌都對(duì)它們進(jìn)行了很巧妙的吸收與運(yùn)用,我們都知道具有影響意義的古文化有來(lái)自印度、希臘、伊斯蘭和中國(guó),幸運(yùn)的是這四個(gè)文化在中國(guó)得到了融合與交匯。在這里敦煌藝術(shù)跨越了文化的差異,種族的不同,地域以及時(shí)空的分別,這是它的藝術(shù)魅力得以傳承至今的重要原因。 敦煌壁畫(huà)藝術(shù)的主要內(nèi)容是以佛教文化為中心,佛教文化就是在當(dāng)時(shí)從印度流傳過(guò)來(lái)的,敦煌石窟有數(shù)以千計(jì)個(gè),都是圍繞佛教教義的內(nèi)容,把佛教藝術(shù)升華化,并且很完整表現(xiàn)出來(lái),這種統(tǒng)一的表現(xiàn)內(nèi)容使得敦煌石窟看上去十分的壯觀,并且讓去到過(guò)那里欣賞研究的人們?yōu)橹鸷�。敦煌壁�?huà)藝術(shù)在表達(dá)佛教內(nèi)容的同時(shí),也畫(huà)有世俗的場(chǎng)景,對(duì)人物的描繪形形色色,借鑒了來(lái)自西域的文化,西魏時(shí)期的洞窟中就有一邊是坦胸露體的印度人形象,另一邊是長(zhǎng)袍大袖的中國(guó)人形象,兩邊的形象特點(diǎn)各不相同。北魏的洞窟內(nèi)東西南北四壁的內(nèi)容都是佛教文化內(nèi)容,在窟頂四周,則描繪道教文化以及中國(guó)傳統(tǒng)神話女?huà)z等題材�？梢�(jiàn)敦煌石窟中的內(nèi)容豐富,形象多種多樣,融合了中華傳統(tǒng)與印度佛教,由此可見(jiàn)當(dāng)時(shí)我們對(duì)外來(lái)文化在吸收與運(yùn)用時(shí),是尊重與適度的。 敦煌壁畫(huà)藝術(shù)的風(fēng)格表現(xiàn)上更多的體現(xiàn)了對(duì)外來(lái)文化的吸收與融合。所言的犍陀羅藝術(shù)就是借助來(lái)自古希臘式的裝飾手法去表現(xiàn)印度的藝術(shù)創(chuàng)作題材,通過(guò)中西文化交流,犍陀羅的藝術(shù)表現(xiàn)方式來(lái)到了中國(guó),敦煌壁畫(huà)中,北涼時(shí)期的石窟中有描繪的交腳菩薩,那種表現(xiàn)方式就是非常典型的犍陀羅風(fēng)格的造型。石窟的墻壁上還繪有裸體的“飛天”的形象,這與中國(guó)傳統(tǒng)的形象是截然相反的,很顯然也是受到了西域文化的影響。有的還借助了天竺畫(huà)明暗式的畫(huà)法結(jié)合中國(guó)傳統(tǒng)的暈染法,兩者相互融洽,互為補(bǔ)充。在敦煌壁畫(huà)的表現(xiàn)中我們看到了如何在發(fā)揚(yáng)本土文化的同時(shí)又吸收運(yùn)用外來(lái)文化藝術(shù)的巧妙之處。 敦煌壁畫(huà)的顏色經(jīng)歷了一千六百多年的洗禮,已經(jīng)不再是當(dāng)初的樣子,侵蝕、剝落、變化等原因,使得敦煌壁畫(huà)看起來(lái)具有滄桑的美感。但是敦煌壁畫(huà)本身的色彩是豐富多彩的,畫(huà)面很有沖擊力,看上去具有很強(qiáng)的視覺(jué)張力,能夠迎合人們宗教情緒的審美心理需要。敦煌壁畫(huà)在畫(huà)面設(shè)色方面,往往是內(nèi)容和主題在起著主導(dǎo)作用,具有很強(qiáng)的象征意義。我國(guó)古時(shí)候,繪畫(huà)被稱為丹青,“丹青”的意思是當(dāng)時(shí)主要流行的顏色,其中有五種顏色代表,有藍(lán)色,黃色,紅色,白色和黑色。敦煌壁畫(huà)的顏色發(fā)展,有其復(fù)雜的演變,首先,在色彩和對(duì)繪畫(huà)的風(fēng)格,不同時(shí)代,不同社會(huì)習(xí)慣使用,使用不同顏色的形式在他的茂盛時(shí)期和其他宗教藝術(shù)一樣是表現(xiàn)為敦煌壁畫(huà)藝術(shù)的象征,它在性能和色彩的運(yùn)用尤為明顯,壁畫(huà) 本身就具有良好的色彩,以象征性,加強(qiáng)了宗教壁畫(huà)的精神內(nèi)容,突出表現(xiàn)了主題的象征性人物。首先,體現(xiàn)在繪畫(huà)風(fēng)格,不同時(shí)代,不同的社會(huì)習(xí)俗,讓不同的顏色有其自身的形式出現(xiàn)郁郁蔥蔥的時(shí)期,可以說(shuō)是領(lǐng)先了幾十年的趨勢(shì)。敦煌壁畫(huà)數(shù)量之多,面積之廣,是亙古未有的藝術(shù)寶藏,歷時(shí)了十個(gè)世紀(jì)以上,也能夠如此完整地保存下來(lái),以此供后人欣賞或膜拜,其中古人的心血我們可想而知。敦煌壁畫(huà)歷經(jīng)不同的朝代都有著不同的變化,也可以說(shuō)是它的命運(yùn)與政治息息相關(guān),統(tǒng)治者的態(tài)度決定著敦煌壁畫(huà)藝術(shù)的方方面面,一個(gè)國(guó)家精神上強(qiáng)盛與國(guó)力的興旺是成正比的,這一點(diǎn),我們通過(guò)研究敦煌壁畫(huà)藝術(shù)可以顯而易見(jiàn)的觀察到。敦煌壁畫(huà)藝術(shù)表現(xiàn)著中國(guó)歷朝歷代的興衰面貌,傳達(dá)著歷史的文明訊息,準(zhǔn)確而有力的記錄著中華文明的成長(zhǎng)每一個(gè)階段。 敦煌石窟藝術(shù)自從被發(fā)現(xiàn)以來(lái),有很多學(xué)者對(duì)壁畫(huà)方面進(jìn)行了專業(yè)性的研究,我在查閱學(xué)習(xí)前輩的研究資料后,通過(guò)分析和推論,對(duì)敦煌壁畫(huà)歷史的來(lái)龍去脈、和它獨(dú)有的藝術(shù)魅力以及形成因素進(jìn)行淺顯的探討和分析,圍繞敦煌壁畫(huà)藝術(shù)獨(dú)特的創(chuàng)造性,去解讀其風(fēng)格的形成原因以及特點(diǎn),和它的語(yǔ)言表現(xiàn)方式對(duì)人們的視覺(jué)和心理所產(chǎn)生的效應(yīng),從而對(duì)壁畫(huà)在創(chuàng)作過(guò)程中所應(yīng)具備的重要因素展開(kāi)探討和論述。對(duì)現(xiàn)代壁畫(huà)在創(chuàng)作過(guò)程當(dāng)中如何去把握畫(huà)面的整體協(xié)調(diào)對(duì)應(yīng)關(guān)系進(jìn)行探索,闡述了古人在創(chuàng)作敦煌壁畫(huà)的時(shí)“中西合璧”的積極意義與影響,從而我們?cè)诂F(xiàn)代壁畫(huà)藝術(shù)創(chuàng)作實(shí)踐中,能夠把握住這開(kāi)放的時(shí)代下文化交融的和諧與美感,能夠巧妙吸收與運(yùn)用外來(lái)文化,發(fā)揚(yáng)我國(guó)的傳統(tǒng)文化精神,這也正是現(xiàn)代壁畫(huà)創(chuàng)作精神的關(guān)鍵所在。通過(guò)對(duì)敦煌壁畫(huà)藝術(shù)的研究與學(xué)習(xí),嘗試著從敦煌壁畫(huà)中所具有的多種文化血液的融合與發(fā)展變化中找到契合現(xiàn)代壁畫(huà)藝術(shù)創(chuàng)作的寶貴經(jīng)驗(yàn),為今后的壁畫(huà)藝術(shù)創(chuàng)作奠定良好的專業(yè)基礎(chǔ)。
[Abstract]:The cultural long river of China has been spreading for thousands of years. Many amazing historical cultures have been found in the continuous exploration. The mural art of the Dunhuang Grottoes is the gem of the historical relics of our country. Before studying and studying the art of Dunhuang murals, the Chinese history has been closed to the ancient Chinese history. Fortunately, this record is in the middle of the record. The more than 1600 year old museum of culture changed my shallow view.
The art of Dunhuang Grottoes has gathered a variety of cultural factors. In Dunhuang, the art of grottoes has been ingeniously absorbed and used. We all know that the ancient culture of influence is from India, Greece, Islam and China. Fortunately, the four cultures have been merged and converged in China. Here, the art of Dunhuang has crossed the cultural differences, The difference of race, region and time and space is the important reason why its artistic charm has been inherited so far.
The main content of the mural art in Dunhuang is centered on the Buddhist culture. The Buddhist culture was circulated from India at that time. There are thousands of Dunhuang grottoes, all of which revolve around the Buddhist doctrines, and the Buddhist art is sublimated and fully displayed. This unified expression makes the Dunhuang Grottoes look very strong. At the same time, the Dunhuang mural art, while expressing the content of Buddhism, also painted a secular scene, portrayed the characters and learned from the culture of the western region. In the Western Wei Dynasty, there was an Indian image on one side in the grottoes of the Western Wei Dynasty and the big sleeves on the other side of the gowns. The image features of the Chinese people are different from each side. The contents of the four walls in the East, West, North and south of the Northern Wei Dynasty are all Buddhist cultural contents. Around the top of the grottoes, the Taoist culture and the Chinese traditional myth Nuwa are depicted. It can be seen that the Dunhuang grottoes are rich in content and varied in image, integrating the Chinese tradition and India Buddhism. At that time, we respected and moderate the absorption and application of foreign culture.
The style of the mural art of Dunhuang is more embodied in the absorption and fusion of foreign culture. The art of gimgiman gimgand is to show the theme of artistic creation in India by means of the ancient Greek style decoration techniques, and through the cultural exchange between China and the west, the artistic expression of gimgiman came to China, in the murals of Dunhuang, the stone in the northern cool period. There is a portrayed Bodhisattva in the grottoes, which is a very typical galand style. The wall of the Grottoes is also painted with a naked "flying sky" image, which is contrary to the traditional Chinese image and obviously influenced by the culture of the western regions. In the performance of Dunhuang mural, we have seen how to use the ingenuity of foreign culture and art in the performance of the local culture.
The color of the Dunhuang murals has gone through the baptism of more than 1600 years. It is no longer the original appearance, erosion, peeling, change and so on, which makes the Dunhuang frescos seem to have the aesthetic feeling of vicissitudes. But the color of the Dunhuang mural itself is rich and colorful, the picture is very powerful, it looks very strong visual tension and can cater for people. The aesthetic psychological needs of religious sentiment. Dunhuang frescos in the color of the screen, often the content and theme play a leading role, with a strong symbolic meaning. In ancient times, Chinese painting was called Dan Qing, "Dan Qing" was the main popular color at that time, of which five colors represented blue, yellow, red, white and black. The color development of Dunhuang mural painting has its complex evolution. First, in color and style of painting, different times, different social habits, the use of different colors in his flourishing period and other religious arts is the same as the symbol of the art of Dunhuang mural, it is especially obvious in the use of performance and color.
In itself, it has good color and symbolism to strengthen the spiritual content of the religious murals and highlight the symbolic characters of the theme. First, it is reflected in the painting style, different times, different social customs, and the different colors have their own form of green onions, which can be said to lead the trend for decades. Dunhuang The number of mural paintings, the wide area of the area, is an unprecedented art treasure, which has lasted for more than ten centuries and can be preserved so completely for posterity to appreciate or worship. We can imagine the blood of the ancients. The Dunhuang murals have been changed by different dynasties, and it can also be said to be its fate and political interest. The attitude of the rulers determines all aspects of the Dunhuang mural art, and the strong spirit of a country is directly proportional to the prosperity of the national power. By studying the art of the murals in Dunhuang, we can obviously observe that the art of the murals in Dunhuang shows the rise and fall of the Chinese dynasties, and the message of the history of civilization. Accurately and forcefully record every stage of the growth of Chinese civilization.
Since the Dunhuang grotto art has been discovered, many scholars have made a professional research on the mural painting. After looking up the research materials of the learning predecessors, through analysis and inference, the origin and origin of the history of the murals in Dunhuang, and its unique artistic charm and forming factors are discussed and analyzed, and around Dunhuang mural art The unique creativity of the art is to interpret the causes and characteristics of its style, and the effects of its language expression on the people's vision and psychology, and then discuss and discuss the important factors that the murals should have in the process of creation. The relationship is explored and the positive significance and influence of the ancient people in the creation of Dunhuang frescoes are expounded. In the modern fresco art creation practice, we can grasp the harmony and beauty of the cultural blend in this open era, and can ingeniously absorb and use the foreign culture and carry forward the traditional cultural spirit of our country. This is the key to the spirit of modern fresco creation. Through the study and study of the art of Dunhuang murals, we try to find the valuable experience of the modern fresco art creation from the integration and development of various cultural blood in Dunhuang murals, and lay a good professional foundation for the future art of wall painting.

【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：K879.41

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 云茜;敦煌莫高窟壁畫(huà)北朝時(shí)期圖形構(gòu)成之研究分析[D];西北大學(xué);2013年

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本文編號(hào)：1816861