本文選題：克孜爾石窟 + 本生故事壁畫��； 參考：《陜西師范大學》2010年碩士論文

【摘要】： 古龜茲國處于西域絲綢古道,在佛學東漸中起到了橋梁的作用。龜茲國佛教興盛,開鑿了一大批石窟寺,克孜爾石窟就是其中的代表。克孜爾石窟規(guī)模宏大,保存相對完整�，F(xiàn)存已編號的洞窟有236個,佛像雕塑大都破損,但部分洞窟保存了大量內(nèi)容豐富的壁畫。 在這些精美的壁畫中,最令人們驚嘆的是本生故事壁畫。這些形象生動、內(nèi)容豐富、技法高超的壁畫不僅僅為石窟藝術(shù)的研究提供了寶貴的資料,而且讓我們看到了西域美術(shù)與佛教藝術(shù)完美結(jié)合所產(chǎn)生的獨特藝術(shù)成果。 克孜爾本生故事壁畫具有獨特的異域特色。從線條技法上看,有“曲鐵盤絲”式的線描,也有結(jié)合了雕塑藝術(shù)的“陰刻線”。畫面的染色方法,既有來自中原的“平涂填色暈染”也有深受印度壁畫影響的“凹凸染法”,多種畫法融匯貫通,使壁畫形象更加生動、靈活。壁畫中的色調(diào)古樸厚重,在經(jīng)過幾千年歲月的滄桑蹉跎,畫面呈現(xiàn)出了豐富多樣的色彩效果。菱形單幅形式的構(gòu)圖是克孜爾本生故事壁畫的主要表現(xiàn)方式之一,具有鮮明的地域特色,這種新穎的構(gòu)圖形式在佛教壁畫藝術(shù)領(lǐng)域獨樹一幟。壁畫中的人物造型在本土文化的基礎(chǔ)上,還受到了犍陀羅文化、馬圖拉文化以及阿旖陀石窟壁畫和波斯文化等外來因素的深遠影響。這種多元素文化的交流融合,是形成克孜爾本生故事壁畫獨特藝術(shù)風格的重要條件。 克孜爾石窟本生故事壁畫繼承了佛教美術(shù)的發(fā)展,將西方造型因素與東方裝飾表現(xiàn)性因素相結(jié)合,并與當?shù)貙徝烙^念融匯貫通,形成了新的藝術(shù)風格。它既是對佛祖慈悲的頌揚；也是對人情世俗的傳神摹寫。盡管它們的本意只是宣揚佛教思想,但其所具有的藝術(shù)形式令人震撼。這些精美的壁畫對龜茲石窟藝術(shù)和西域美術(shù)史的研究具有十分重要的意義。 本文以克孜爾石窟本生故事壁畫的藝術(shù)風格入手,從壁畫的構(gòu)圖演變、線條色彩、人物造型、內(nèi)容題材、年代劃分、時代背景以及藝術(shù)成就等各方面進行研究和探討,對克孜爾本生故事壁畫的藝術(shù)風格進行一次完整的解析。這種拋磚引玉的做法,希望能給國畫人物的創(chuàng)作,帶來一些新鮮的靈感。
[Abstract]:The ancient Qiuci country is located in the western region silk ancient road, has played the bridge function in the Buddhist science eastward. Qiuzi Buddhism flourished, excavated a large number of grotto temple, Kizil Grottoes is one of the representatives. Kizil Grottoes are large scale and relatively intact. There are 236 existing numbered caves, most of which are damaged, but some of them contain abundant murals. In these exquisite murals, the most amazing is the murals of this life story. These vivid, rich and skillful murals not only provide valuable information for the study of grotto art, but also show us the unique artistic achievements produced by the perfect combination of western art and Buddhist art. Kizil Benson story murals have unique exotic features. From the line technique, there is a "qu tie plate wire" type of line drawing, but also a combination of sculpture art "Yin line." The dyeing method of the picture is not only from the Central Plains, but also from the "concavity and convex dyeing method", which is deeply influenced by Indian murals. Various painting methods are integrated to make the fresco image more vivid and flexible. After thousands of years of vicissitudes, the murals show rich and diverse color effects. The composition of diamond form is one of the main expression ways of Kizil's Benson story mural, which has distinct regional characteristics. This novel form of composition is unique in the field of Buddhist mural art. On the basis of the native culture, the characters in the murals are also influenced by such foreign factors as Gandhara culture, Mathura culture, and Ito grottoes murals and Persian culture. This multi-element cultural exchange is an important condition to form the unique artistic style of Kizil Benson story murals. The murals of Kizil Grottoes have inherited the development of Buddhist art, combining the western modeling factors with the Oriental decorative expressiveness factors, and blending with the local aesthetic concepts to form a new artistic style. It is not only a tribute to Buddha's compassion, but also a profane impersonation of human feelings. Although they were intended to propagate Buddhist ideas, their artistic form was shocking. These fine murals are of great significance to the study of Qiuci grottoes art and the history of Western regions art. This article starts with the artistic style of the murals of Kizil Grottoes, and studies and discusses the composition and evolution of the murals, the color of lines, the modelling of characters, the subject matter, the age division, the background of the times and the artistic achievements, etc. A complete analysis of the artistic style of Kizil Bunsen story murals. This practice, hoping to bring some fresh inspiration to the creation of Chinese painting characters.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：K879.4

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