本文選題：北朝佛傳故事　切入點：分區(qū)與分期　出處：《山東大學(xué)》2012年博士論文　論文類型：學(xué)位論文

【摘要】：本文借鑒前人研究成果,從美術(shù)考古學(xué)角度出發(fā),系統(tǒng)整理和分析目前所見北朝時期佛傳故事圖像藝術(shù)的相關(guān)資料,在此基礎(chǔ)上對其進行分區(qū)、分期研究,建立北朝佛傳故事發(fā)展的時空框架,總結(jié)其時代性及區(qū)域性特征,并結(jié)合歷史文獻及相關(guān)圖像資料對典型題材及圖像系統(tǒng)進行解讀,進而探討北朝時期佛傳故事圖像藝術(shù)發(fā)展過程中所涉及到的藝術(shù)風(fēng)格、民族融合、文化繼承與交流以及宗教信仰等相關(guān)問題。 本文主要分以下幾個部分論述北朝佛傳故事圖像藝術(shù)：一、本文選題意義和目前學(xué)界研究的現(xiàn)狀,并提出北朝佛傳故事圖像藝術(shù)研究的思路框架與研究方法；二、對北朝佛傳故事內(nèi)容及藝術(shù)形象題材進行分類介紹,將北朝時期的佛傳故事圖像藝術(shù)按照雕塑和壁畫兩種藝術(shù)技法進行分析,探討其構(gòu)圖布局特點,并整理佛傳故事圖像藝術(shù)的分區(qū)及分期；三、在內(nèi)容布局及各期特點明確的基礎(chǔ)上對北朝佛傳故事藝術(shù)風(fēng)格和審美觀念進行研究；四、通過典型佛傳故事藝術(shù)分析北朝時期的人生觀從而論證佛傳故事中體現(xiàn)的救渡和忠孝思想；五、通過研究北方少數(shù)民族政權(quán)與佛教的關(guān)系、與漢人的文化融合以及南朝文化的北傳,研究北朝佛傳故事圖像藝術(shù)與文化交流的關(guān)系；六、綜述全文得出北朝佛傳故事對圖像藝術(shù)的影響。 通過對北朝佛傳故事圖像藝術(shù)的系統(tǒng)研究、綜合梳理發(fā)現(xiàn)北朝佛傳故事在當(dāng)時佛教美術(shù)中占重要位置,現(xiàn)存大量北朝佛傳故事遺例；通過文獻及實物考證,認定這一時期的佛傳故事內(nèi)容表現(xiàn)特點很大程度上就是當(dāng)時文化藝術(shù)、思想美學(xué)的集中彰顯。以云岡石窟第6窟雕塑和莫高窟第290窟壁畫為代表的北朝佛傳故事圖像藝術(shù)敏銳地反映那個時代思想意識的變化,以其精湛的工藝技法,直觀反映了北朝時期的思想意識。通過調(diào)查論證認為,北朝佛傳故事大量出現(xiàn)在石窟寺雕塑、繪畫等宗教藝術(shù)當(dāng)中,是與北朝皇室的統(tǒng)治思想、宗教信仰密切相關(guān)的。北朝時期少數(shù)民族政權(quán)對河西和東北地區(qū)逐一征服,吸收融合了這些地區(qū)的漢魏文化傳統(tǒng)。隨著北朝政治中心的不斷南移,出于統(tǒng)治上的需要,其在典章制度、文化信仰、宗教藝術(shù)等方面不斷吸收新的元素,并逐步與南朝漢文化傳統(tǒng)融合,建立起少數(shù)民族與漢民族共同接受的文化模式。北朝佛傳故事藝術(shù)的本質(zhì)是建構(gòu)在文化繼承與宗教信仰基礎(chǔ)上的,佛教經(jīng)典中對佛傳故事的內(nèi)容描述大致相同,但不同時期佛教思想的發(fā)展演變加之不同藝術(shù)修養(yǎng)及工藝水平的匠師們的藝術(shù)創(chuàng)作,必然表現(xiàn)出特殊的藝術(shù)構(gòu)建原則和表現(xiàn)形式。 本文在寫作過程中以美術(shù)考古的理論方法為指導(dǎo),結(jié)合北朝佛傳故事圖像的自身特點進行系統(tǒng)分析、綜合研究。研究方法分以’下幾個層次,一是利用傳統(tǒng)考古學(xué)中類型學(xué)方法對北朝佛傳故事圖像資料進行分類梳理,尋找其階段性和地域性變化,在此基礎(chǔ)上進行分區(qū)與分期研究,以為之后的論述建立一個基本的資料架構(gòu)。二是結(jié)合文獻及相關(guān)材料,運用歷史學(xué)研究方法,探討北朝佛傳故事藝術(shù)的發(fā)展過程、藝術(shù)風(fēng)格及影響等問題。三是運用圖像學(xué)等方法對北朝佛傳故事藝術(shù)的功能與意義進行解讀,以期全面復(fù)原北朝佛傳藝術(shù)與當(dāng)時思想觀念、風(fēng)俗習(xí)尚等的關(guān)系,并探討北朝佛傳故事對當(dāng)時人們宗教意識和行為過程的影響。最后將北朝佛傳故事圖像研究與北朝社會、文化相鏈接,概括北朝佛傳故事圖像藝術(shù)的區(qū)域時代特點,以彰顯北朝佛轉(zhuǎn)故事藝術(shù)在東西文化交流中所起到的重要作用。 北朝佛傳故事圖像內(nèi)容豐富,是中華民族的優(yōu)秀文化遺產(chǎn),是人類古代文明的智慧結(jié)晶,對北朝佛傳故事圖像的時代社會背景、內(nèi)容形式、藝術(shù)風(fēng)格等問題進行系統(tǒng)的深入探討,可為我們繼承發(fā)揚優(yōu)秀民族文化傳統(tǒng)提供借鑒。
[Abstract]:In this paper, based on the previous researches, starting from the angle of art archaeology, system arrangement and analysis of the related data of the Northern Dynasties Buddhist story image art, on the basis of the study area, the establishment of time-space frame stories of Buddhism development, summarized the era and regional characteristics, and combined with the history the literature and the related image data on the interpretation of the typical theme and image system, and then discusses the development process involved in the Northern Dynasties Buddhist story image art in the artistic style, ethnic fusion, issues related to cultural inheritance and the exchange and religious belief.
This paper is divided into the following parts: the stories of Buddhism art image, the significance and the present research situation, and puts forward the framework and research methods of the Buddhist story of image art; two, describes the classification of the Buddhist story content and artistic image of the theme, the Northern Dynasties of the Buddha according to the analysis of image story art sculptures and murals of two kinds of artistic techniques, explore its composition characteristics, and finishing the Buddhist story the art of image partition and staging; three, study the story art style and aesthetic ideas of the Buddha in the basic content and the characteristics of clear layout on; four, through the typical stories of Buddhism art of Northern Dynasties so as to demonstrate the view of life stories of Buddhism embodied in the salvation and the thought of loyalty and filial piety; five, the relationship between political power and Buddhist Minorities Research in the north, Culture and Han culture spread to the north and the relationship between the Northern Dynasties, the Buddhist story image art and cultural exchange; six, summarized the Buddhist story of Northern Dynasties that affect the image of art.
Through systematic research on the Buddhist story of image art, a comprehensive study found that the Northern Dynasties Buddhist stories in Buddhist art at that time occupied an important position, the large number of the Buddhist story. Through literature and cases; physical examination, that during this period the Buddhist story content features is largely at the time of culture and arts, aesthetic thought the concentration of the Buddha in Yungang Grottoes. Highlight the sixth grotto sculptures and murals in cave 290th of Mogao Grottoes as the representative of the story of image art keenly reflect changes in ideology of that era, with its exquisite technique, directly reflects the ideology of the Northern Dynasties. Through the investigation demonstrated that the Buddhist story appeared in the grotto sculpture painting, religious art, and the royal family is the dominant ideology, religious beliefs are closely related. The Northern Dynasties minority regime of West and East North Area by conquest, absorbed in these areas and cultural traditions. As the political center to the south. The rule for the needs of the institutions, cultural beliefs, religion and art continue to absorb new elements, and the gradual integration with the traditional Chinese culture, establish a national minority and the Han nationality common acceptance the essence of cultural patterns. The stories of Buddhism art is based on the cultural inheritance and the religious belief on the basis of the contents of the Buddhist story in the Buddhist scriptures describe roughly the same, but the development of Buddhism in different periods and different evolution of art and craft level of craftsmen of artistic creation, is bound to show the principle and the construction of special artistic form.
鏈枃鍦ㄥ啓浣滆繃紼嬩腑浠ョ編鏈，

本文編號：1638848