本文選題：造像碑 + 北朝��； 參考：《西安美術(shù)學(xué)院》2011年博士論文

【摘要】：造像碑是融繪畫(huà)、雕刻、建筑、書(shū)法于一體的宗教藝術(shù)作品,是石刻造像和傳統(tǒng)碑碣形式的結(jié)合。它是陜西地區(qū)佛教造像藝術(shù)中一個(gè)非常特殊且具有代表性的造像種類(lèi),對(duì)于研究北朝時(shí)期關(guān)中地區(qū)普通民眾的宗教信仰、少數(shù)民族的分布區(qū)域、姓氏、民族成分、婚姻關(guān)系、北朝官制、地理沿革等方面具有非常重要的歷史價(jià)值。本文在前輩學(xué)者研究的基礎(chǔ)上,吸取和借鑒了他們的研究方法和新的理論,對(duì)關(guān)中地區(qū)造像碑的分期、年代等方面進(jìn)行了討論。 本文以關(guān)中各縣區(qū)收藏和新近出土的造像碑(含部分造像)為研究對(duì)象,以北魏至隋代為時(shí)間界限,通過(guò)實(shí)地考察獲得的圖片資料和查找的相關(guān)文獻(xiàn)資料,采用最新的研究理論和成果,盡可能完整、忠實(shí)地記錄造像碑的造像、銘文等內(nèi)容,概述了耀縣、西安、富平、長(zhǎng)武等其它縣區(qū)有紀(jì)年造像碑的基本情況。其次,對(duì)關(guān)中地區(qū)造像碑進(jìn)行分期研究,以整個(gè)關(guān)中作為地理范圍,打破了地域界限,收錄了關(guān)中各縣區(qū)百余塊有紀(jì)年的造像碑,采用考古類(lèi)型學(xué)的方法,通過(guò)比較不同時(shí)期、不同地域的造像碑,分析碑龕形制及布局、主尊造型、服飾和雕刻技法、佛座、供養(yǎng)人等具有時(shí)代特征的圖像演變軌跡,總結(jié)了各時(shí)期造像的藝術(shù)特征。文中把關(guān)中地區(qū)造像碑分為三個(gè)時(shí)期,在每一時(shí)期內(nèi)又細(xì)分為幾個(gè)階段,概括每一階段造像的樣式特征。最后,在分期研究的基礎(chǔ)上,著重對(duì)耀縣、西安、富平和長(zhǎng)武幾個(gè)地方無(wú)紀(jì)年造像碑的年代進(jìn)行考證。通過(guò)分析造像碑上的主尊造型、供養(yǎng)人、獅子等圖像特征,與某一歷史階段造像碑的樣式特征或特定年代的造像碑進(jìn)行對(duì)比,把單個(gè)造像碑同某個(gè)特定時(shí)期聯(lián)系起來(lái),從而來(lái)確定無(wú)紀(jì)年造像碑的年代范圍。
[Abstract]:The stone tablet is a religious work of art that integrates painting, sculpture, architecture and calligraphy. It is a combination of stone sculptures and traditional stele forms. It is a very special and representative kind of Buddhist statue art in Shaanxi. For studying the religious beliefs of ordinary people in Guanzhong area during the Northern Dynasty, the distribution region of ethnic minorities, surnames, ethnic elements, marriage relations, The official system of the Northern Dynasty, geographical evolution and other aspects have very important historical value. Based on the previous scholars' research, this paper draws on their research methods and new theories, and discusses the stages and ages of statues in Guanzhong area. In this paper, the collection of various counties and districts in Guanzhong and the newly unearthed statues (including some statues) are taken as the research objects, and the time limit from the Northern Wei Dynasty to the Sui Dynasty is taken as the time limit. Based on the latest research theories and achievements, the contents of the statues and inscriptions of the tablets are recorded as completely and faithfully as possible, and the basic situation of the chronological tablets in other counties such as Yaoxian, Xi'an, Fuping and Changwu is summarized. Secondly, the study on the statues in Guanzhong area is carried out by stages, taking the whole Guanzhong as the geographical range, breaking the boundary of the region, collecting more than 100 chronicled tablets in the counties and districts of Guanzhong, adopting the method of archaeological typology, and comparing different periods by means of the archaeological typology. This paper analyzes the shape and layout of the monument niche, the shape and layout of the tablet niche, the shape of the statue, the dress and engraving techniques, the Buddha's seat, the suitor and so on, and summarizes the artistic characteristics of the statues in each period. In this paper, the statue tablet in Guanzhong area is divided into three periods, and then subdivided into several stages in each period to summarize the style characteristics of each stage. Finally, on the basis of the study by stages, this paper makes textual research on the age of no chronological monument in Yaoxian, Xi'an, Fuping and Changwu. By analyzing the image features of the main statue, the provider and the lion on the monument, and comparing it with the style features of the monument at a certain historical stage or with the monument of a particular age, the individual monument is linked to a certain period. In order to determine the age of no-chronological monument.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：K877.4

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