【摘要】：梁莊王墓中所出土的隨葬器物,除了數(shù)量龐大的各類金銀珠玉飾品之外,還出土有900余件佛教文物。這批佛教文物種類繁多,包括佛像、法器兩大類,其制作材料涵蓋有金、銀、骨、玉、寶,制作工藝精美。其中,“大黑天舞姿像”因其貴重的制作材料、精美的制作工藝和獨(dú)特的造型形態(tài)顯得十分突出,是這批佛教器物中的經(jīng)典之作。本文基于法國(guó)美術(shù)史家福西永的形式分析理論,將目光聚焦于梁莊王墓大黑天舞姿像,對(duì)該造像展開(kāi)較為全面的形式分析�？偨Y(jié)梁莊王墓大黑天舞姿像的使用材料及制作工藝,分析出材料與技術(shù)對(duì)其形式的影響。進(jìn)而,結(jié)合人的視覺(jué)審美一般規(guī)律,歸納出其外在整體形式的美學(xué)特征。最后將綜合我國(guó)現(xiàn)存主要大黑天神像遺存及相關(guān)文獻(xiàn)記載,嘗試歸納出7-14世紀(jì)期間大黑天神像的形式變化脈絡(luò)。
[Abstract]:In addition to a large number of gold, silver and pearl jade ornaments, more than 900 Buddhist relics were unearthed in the tomb of Liang Zhuang. This batch of Buddhist relics includes two categories: Buddha statue and French ware. Its materials include gold, silver, bone, jade, treasure and exquisite craftsmanship. Among them, the Dancing figure of the Big Black Sky is a classic among these Buddhist objects because of its valuable materials, exquisite craftwork and unique shape. Based on the formal analysis theory of French art historian Fushi Yong, this paper focuses on the image of the big black sky in the tomb of the king of Liang Zhuang, and carries out a more comprehensive formal analysis of the statue. This paper summarizes the material and making technology of the big black sky dance figure in the tomb of Liang Zhuang, and analyzes the influence of material and technology on its form. Then, combined with the general law of human visual aesthetics, the aesthetic characteristics of its external overall form are summed up. Finally, by synthesizing the remains of the main black gods and related documents in China, this paper tries to sum up the changes in the form of the great black gods during the 7-14 th century.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：K879.3

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 白林坡;;形式之維——沃爾夫林與福西永美術(shù)史研究的形式主義理論比較[J];榮寶齋;2013年04期

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本文編號(hào)：2384382