本文選題：青州 + 北朝　； 參考：《陜西師范大學(xué)》2011年碩士論文

【摘要】：青州是魏晉南北朝時(shí)期北方佛教活動(dòng)的重要地帶,至今依然保留著北魏中晚期到北齊階段的諸多造像、刻經(jīng)、寺院等佛教遺跡。這些石刻造像融匯中外,兼采南北,地域特征鮮明。近年來對(duì)于青州北朝造像的研究也已經(jīng)進(jìn)入到一個(gè)深入的階段,目前的研究主要集中于佛像、菩薩像的風(fēng)格淵源問題,對(duì)于某些具體的造像形式也有人初步涉入,但對(duì)其中獨(dú)具特色的飛天伎樂圖像,學(xué)術(shù)界并未對(duì)其給予足夠的重視,常常是將其附在佛、菩薩像的綜合研究中討論,對(duì)圖像系統(tǒng)的類型分析和年代研究也比較欠缺,飛天的樂器種類和樂舞性質(zhì)仍不甚清楚。本文的研究將建立在解決以上問題的基礎(chǔ)上,擬將飛天伎樂圖像當(dāng)作一個(gè)切入點(diǎn),通過與同時(shí)期其他地區(qū)圖像的比較,找出異同并溯清源流,以期對(duì)青州地區(qū)北朝石刻造像的整體面貌有更為深入的認(rèn)識(shí),進(jìn)而對(duì)南北朝時(shí)期青州與周圍地區(qū)佛教美術(shù)的交流狀況進(jìn)行更為深入的了解。 文章共分為六個(gè)部分,其中三、四部分是本文的重點(diǎn)內(nèi)容。 第一部分：緒論。簡(jiǎn)單的綜述了本文的研究意義、國(guó)內(nèi)外研究現(xiàn)狀、本課題采用的研究方法以及本論文的創(chuàng)新點(diǎn)和存在的不足之處等。 第二部分：青州北朝背屏式石造像概況。首先介紹了青州北朝佛教造像產(chǎn)生的歷史背景,然后對(duì)青州的地域范圍做了界定,接下來對(duì)現(xiàn)有的飛天伎樂圖像進(jìn)行了收集與整理,為下文的具體論述做了鋪墊。 第三部分：青州北朝背屏式石造像中飛天伎樂藝術(shù)風(fēng)格分析。首先對(duì)飛天伎樂圖像做了簡(jiǎn)單的分類,分析了其服飾與造型特征；并在上文的基礎(chǔ)上討論其分期與時(shí)代特征,以有明確紀(jì)年的造像為標(biāo)尺,考察其類型式演變,將北朝飛天伎樂圖像分為三個(gè)階段,繼而分析不同階段的造像風(fēng)氣與時(shí)代特征；接下來借鑒音樂考古學(xué)和音樂圖像學(xué)的方法,考證了樂器的品種與形制,對(duì)其樂舞性質(zhì)作出定性。其次,對(duì)飛天伎樂的表現(xiàn)手法進(jìn)行了總結(jié)。分析了青州北朝石造像中飛天伎樂圖像雕刻技法的多樣性以及佛教造像中頗為罕見的貼金、彩繪裝飾手法；最后,從美學(xué)范疇的角度談?wù)摿似渌囆g(shù)審美特征。 第四部分：青州北朝背屏式石造像飛天伎樂圖像的藝術(shù)淵源。本章主要分析了飛天伎樂圖像特征、風(fēng)格的淵源去向。青州地區(qū)的自然區(qū)域及豐富的石質(zhì)資源是其地域性風(fēng)格產(chǎn)生的基礎(chǔ)。以成都萬佛寺等造像為代表的南朝造像是其樣式特征的主要來源,兼而受河北個(gè)體石造像、中原石窟造像的影響。青州地區(qū)豐厚的文化底蘊(yùn)也是其區(qū)域性特點(diǎn)形成的因素之一。 第五部分：青州造像中飛天伎樂的延續(xù)與流變。本章通過對(duì)隋唐、宋時(shí)期伎樂的存在情況及形勢(shì)演變,確定青州北朝伎樂圖像的延續(xù)與流變問題。 第六部分：結(jié)語。在本節(jié)對(duì)青州造像衰落的原因作了簡(jiǎn)單的說明,最后點(diǎn)明了本文得出的主要結(jié)論。 全文旨在運(yùn)用類型學(xué)的研究方法,系統(tǒng)的研究青州北朝飛天伎樂圖像的變化軌跡,討論其風(fēng)格來源流變,并結(jié)合當(dāng)時(shí)當(dāng)?shù)胤鸾虃鞑ヌ卣鳌⑸鐣?huì)歷史背景和地域文化特點(diǎn),尋找造像背后的諸多信息。并通過考察唐、宋伎樂圖像的情況,進(jìn)而確定青州北朝伎樂圖像的流變問題。
[Abstract]:Qingzhou is an important area of Buddhist activities in the northern and Southern Dynasties in the Wei, Jin, northern and Southern Dynasties. So far, many of the Buddhist relics, such as the northern and late Northern Wei Dynasty to the Northern Qi stage, are still preserved. These stone sculptures blend in and out of China and the south, with distinctive regional characteristics. In recent years, the study of the Northern Dynasty statue of Qingzhou has also entered into an in-depth study. At the stage, the current research focuses on the Buddhist statues, the origin of the Bodhisattva and the initial involvement of some specific forms of statue, but the academic circles do not pay enough attention to the unique image of the flying Kabuki music, which is often discussed in the comprehensive study of the Buddha and Bodhisattva, and the class of the image system. The type of musical instruments and the nature of music and dance are still not very clear. The study of this paper will be based on solving the above problems as a breakthrough point. By comparing with the images of other regions in the same period, we will find out the similarities and differences and trace the source flow, in order to make the Northern Dynasties in Qingzhou area. The overall picture of the stone carving has a deeper understanding, and further understanding of the communication between Qingzhou and the surrounding areas of Buddhist art in the northern and Southern Dynasties.
The article is divided into six parts, of which three and four are the main contents of this article.
The first part is introduction, which briefly summarizes the significance of the research, the current research status at home and abroad, the research methods adopted in this subject, the innovation point and the shortcomings of this paper.
The second part: the general situation of the back screen stone statue of the Northern Dynasty in Qingzhou. First, it introduces the historical background of the Buddhist statue of the Northern Dynasties in Qingzhou, then defines the regional scope of Qingzhou, and then collects and collects the existing images of the flying Kabuki music, and pave the way for the specific discussion below.
The third part: analysis of the artistic style of the flying Kabuki in the back screen stone statue of the North Dynasty in Qingzhou. First, it makes a simple classification of the images of the Feitian Kabuki, analyzes its costume and modeling features, and discusses its stages and characteristics on the basis of the above, with a clear chronological image as a scale, the evolution of its type and the North Dynasty flying Kabuki. The music image is divided into three stages, then analysis of the different stages of the style and characteristics of the times. Next, using the methods of musical Archaeology and music iconography, the varieties and forms of musical instruments are examined and the nature of their music and dance is qualitatively analyzed. Secondly, the expression techniques of the flying music are summarized. The flight of the stone statue in the Northern Dynasty of Qingzhou is analyzed. The diversity of the image carving techniques of Tian Ji music and the rare gold in the Buddhist statues and the decorative techniques of color painting; finally, the aesthetic features of the art are discussed from the angle of the aesthetic category.
The fourth part: the artistic origin of the image of the back screen stone building in the North Dynasty of Qingzhou. This chapter mainly analyzes the features of the flying Kabuki image and the origin of the style. The natural region of Qingzhou and the rich stone resources are the basis of its regional style. The Southern Dynasty statue represented by the statue of Chengdu Wanfo temple is its style. The main source of the characteristics is also influenced by the stone statue in Hebei and the influence of the statue of the Central Plains grottoes. The rich cultural background of Qingzhou is also one of the factors of its regional characteristics.
The fifth part: the continuation and evolution of the flying Kabuki in the Qingzhou statues. This chapter, through the existence and evolution of the Sui and Tang Dynasties and the Song period, determines the continuity and evolution of the Northern Dynasty's Kabuki image.
The sixth part: epilogue. In this section, the reasons for the decline of Qingzhou statues are briefly explained, and finally the main conclusions of this article are pointed out.
The full text aims to use the research method of typology to systematically study the change track of the image of the northern Chao Tian Yue in Qingzhou, discuss the origin of its style, and find out the information behind the images of the local Buddhism, the social and historical background and the regional and cultural characteristics, and examine the picture of the Tang and song Kabuki. The rheology of the image of Kabuki music in the Northern Dynasty of Qingzhou.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：K879.3

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 楊玉圣;;認(rèn)真對(duì)待松林書院文化遺產(chǎn)——兼談“青州學(xué)”與“文化青州”建設(shè)[J];云夢(mèng)學(xué)刊;2013年02期

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本文編號(hào)：1971678