本文選題：正定 + 隆興寺��； 參考：《沈陽大學(xué)》2016年碩士論文

【摘要】：在中國美術(shù)史中壁畫的研究舉足輕重,佛教壁畫更是我國繪畫藝術(shù)的瑰寶。佛教及佛教繪畫傳入我國吸納中國本土文化,經(jīng)過歷史的沉淀產(chǎn)生了獨特的佛教繪畫。文中所研究的正定隆興寺摩尼殿建于北宋皇yP四年,大殿內(nèi)槽九間均為佛壇,三面砌墻,內(nèi)壁繪制有佛教人物,佛壇后壁背面通塑五彩懸山,休閑自若的觀音安然坐于山中窟龕內(nèi),俗稱“倒坐觀音”。其余內(nèi)壁彩繪壁畫,內(nèi)容有佛教尊像畫,主要為表現(xiàn)佛陀說法的“西方勝景”和“東方凈琉璃世界”、經(jīng)變畫、佛教故事、表現(xiàn)釋迦摩尼一生的“釋氏源流”。正定縣文物保管所工作人員經(jīng)過實地測量考察,原壁畫面積是528平方米,由于墻體坍塌和墻皮蘇堿、脫落、空鼓,目前尚存387平方米。文章對于壁畫的分布內(nèi)容作了概括闡述,著重分析繪畫的造型特色和人文理念。采用實地調(diào)查、文獻(xiàn)參考和對比分析的方法對不同時期、不同地域壁畫造型進行考證和對比研究,闡述摩尼殿壁畫人物造型的時代特征,進而說明傳統(tǒng)造型理念在當(dāng)代中國人物畫創(chuàng)作中具有重要意義。河北正定摩尼殿壁畫繪制于明代,造型風(fēng)格具有一定的時代特色,在人物的造型上傾向世俗化風(fēng)格,佛教神仙的形象不似從前的嚴(yán)肅莊重,人物造型多了些許人間“溫度”,內(nèi)心表情更為豐富,造型越加自由靈動,呈現(xiàn)出極富地域特征的明代壁畫語言。其造型元素沉浮著獨特的藝術(shù)魅力,是特定時代背景下的人文理念和表現(xiàn)元素的個性指向,使該壁畫為研究我國傳統(tǒng)繪畫造型的發(fā)展和文化脈絡(luò)提供了重要的實物依據(jù)。摩尼殿壁畫造型特色體現(xiàn)了明代文化精神和審美傾向,這些手法所創(chuàng)造出的經(jīng)典藝術(shù)作品也在潛移默化中影響著我們民族的藝術(shù)特質(zhì)和人文理念。中國古代壁畫造型的審美講求“神”的表現(xiàn),在造型上更尊重創(chuàng)作者內(nèi)心的感受,形象塑造不求與自然形象的視覺直觀相似,在形象上更加自由夸張,尊重自我,追求意境的表達(dá),對形象、主題的“神合”、“神會”之體味。它熔鑄在理想化和感情化的藝術(shù)表現(xiàn)之中,對自然物象和個人情感以及審美理念進行熔煉,使其獨具特色,源于自然而高于自然,能夠給觀者以充分的聯(lián)想產(chǎn)生共鳴。本課題通過對摩尼殿壁畫造型的研究分析,通過對其人物造型精神內(nèi)質(zhì)的論證,力求探尋摩尼殿壁畫獨特的造型特征和人文理念的關(guān)系。思考“造型”在當(dāng)代中國人物畫創(chuàng)作和作品應(yīng)用中的積極意義。
[Abstract]:The study of fresco plays an important role in Chinese art history, and Buddhist mural painting is the treasure of Chinese painting art. Buddhism and Buddhist painting were introduced into our country to absorb Chinese native culture, resulting in unique Buddhist painting through historical precipitation. The Moni Temple in Zhengding Longxing Temple was built in four years by Emperor YP in the Northern Song Dynasty. Nine grooves in the main hall are Buddhist altars, three walls are built, Buddhist figures are painted on the inner wall, and the back wall of the Buddhist altar is covered with plastic multicolored hills. Leisure-like Guanyin sitting in the cave niches in the mountains, commonly known as "sit upside down Guanyin." Other painted murals on the inner wall contain Buddhist statues, mainly for the "Western scenery" and "the Oriental net glaze World", which represent the Buddha's view, the Buddhist story and the "source of the Shih" of Sakyamuni's life. The original mural area is 528 square meters, due to wall collapse and wall skin soda, falling off, empty drum, existing 387 square meters. In this paper, the distribution of murals is summarized, with emphasis on the modeling features and humanistic concepts of painting. By using the methods of field investigation, literature reference and comparative analysis, this paper makes textual research and comparative study on the murals of different periods and different regions, and expounds the characteristics of the era of the figures in the murals of the Mani Temple. Then it shows that the traditional modeling idea is of great significance in the contemporary Chinese figure painting creation. The murals of Mani Temple in Zhengding, Hebei Province, were painted in the Ming Dynasty. The style of modeling has certain characteristics of the times. In the style of characters, they tend to be secularized. The image of Buddhist gods is not as serious as it was in the past, and the figures have a little more "temperature" in the world. The inner expression is more abundant, the shape is more and more free, presents the extremely rich region characteristic Ming Dynasty murals language. The unique artistic charm of its modeling elements is the humanistic idea and the personality direction of the performance elements under the specific background of the times, which makes the murals provide an important material basis for the study of the development and cultural context of Chinese traditional painting modeling. The style features of the murals of the Mani Temple reflect the cultural spirit and aesthetic tendency of the Ming Dynasty. The classical works of art created by these techniques also influence our national artistic characteristics and humanistic ideas in a subtle way. The beauty of Chinese ancient murals emphasizes the expression of "God", respects the inner feelings of the creators in the modeling, does not seek to be similar to the visual intuitionistic of the natural images, and is more free and exaggerated in the image, and respects the self. Pursuit of artistic conception, image, theme of "God", "God will" taste. It melts in the artistic expression of idealization and emotion, melts the natural image, personal emotion and aesthetic idea, makes it unique and originates from nature and is superior to nature, and can resonate with the viewer with full association. Through the research and analysis of the murals of the Mani Temple and the demonstration of the spirit of its characters, this paper tries to explore the relationship between the unique features of the murals and the humanistic ideas. Thinking about the positive significance of "modelling" in the creation and application of contemporary Chinese figure painting.
【學(xué)位授予單位】：沈陽大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：K879.41;J218.6

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