本文關(guān)鍵詞：響堂山北齊石窟裝飾藝術(shù)研究　出處：《河北師范大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 響堂山 石窟 裝飾藝術(shù) 佛教 傳承

【摘要】： 響堂山石窟最早開鑿于北齊文宣帝高洋時(shí)期(公元550—577年),現(xiàn)存主要石窟造像均為北齊時(shí)雕造。本文主要是針對(duì)響堂山北齊的石窟裝飾藝術(shù)進(jìn)行研究。南北朝時(shí)期是我國裝飾藝術(shù)的快速發(fā)展期,這時(shí)的裝飾藝術(shù)尚未定型,由于受佛教的推動(dòng)和影響,蓮花等植物紋樣成為重要的表現(xiàn)題材。盡管北朝開窟造像頗多,但是并沒有形成統(tǒng)一的裝飾風(fēng)格。響堂山石窟的裝飾藝術(shù)非常豐富而獨(dú)特,因此本文對(duì)響堂山裝飾藝術(shù)在這一特殊時(shí)期的歷史地位進(jìn)行了分析。 由于北朝戰(zhàn)亂不斷,政權(quán)頻頻更替,統(tǒng)治者常常來自不同民族,政權(quán)建在不同的地域,因此裝飾藝術(shù)存在多樣性和包容性。響堂山石窟尤其如此,有些裝飾受云岡石窟影響;有些與龍門石窟相似;有些直接傳承了佛教的裝飾風(fēng)格。如接近西方葉紋流變的南響堂第五窟地面的忍冬紋;與云岡石窟相近的北響堂大佛洞的纏枝忍冬紋;更有與隋唐風(fēng)格相近的卷草紋、龍紋等裝飾。而當(dāng)佛教經(jīng)薩珊王朝時(shí)又?jǐn)y帶了聯(lián)珠紋、火焰紋進(jìn)入中國,在響堂山石窟漸次變化,最終由響堂山的圓形聯(lián)珠向隋唐的橢圓形聯(lián)珠過渡。這些無不體現(xiàn)了響堂山石窟在裝飾藝術(shù)上的傳承性。 本文借鑒日本學(xué)者長廣敏雄在《云岡石窟裝飾的意義》中對(duì)石窟寺佛教裝飾藝術(shù)研究的分類,將響堂山裝飾藝術(shù)也分為建筑結(jié)構(gòu)的裝飾藝術(shù)和非建筑結(jié)構(gòu)的裝飾藝術(shù),對(duì)這兩方面的研究基本覆蓋了響堂山石窟大部分的裝飾內(nèi)容。印度佛教在傳播過程中一個(gè)重要特征就是隨著傳播,不斷融合新的文化。這一點(diǎn)在佛教裝飾藝術(shù)中更為明顯,通過對(duì)佛教裝飾藝術(shù)的分類論述,特別是對(duì)響堂山忍冬紋、蓮花紋、龍紋這幾種典型佛教裝飾紋樣的論述,概括并揭示了當(dāng)時(shí)響堂山裝飾藝術(shù)的基本特性,即佛教裝飾經(jīng)歷了發(fā)展——傳播——吸收——發(fā)展——傳播的過程。在傳播過程中發(fā)生民族化和本土化是其必然的趨勢(shì),而響堂山石窟裝飾藝術(shù)對(duì)已經(jīng)吸收了大量其他文化的佛教裝飾藝術(shù),又融入了自己的獨(dú)特文化,賦予了佛教裝飾藝術(shù)新生命。所有這些都體現(xiàn)了響堂山佛教裝飾藝術(shù)背后所蘊(yùn)涵的時(shí)代性、流變性、文化性以及強(qiáng)大的包容性。
[Abstract]:Xiangtangshan Grottoes were first dug in the Northern Qi Dynasty Emperor Wenxuan Gao Yang period (AD 550-577). The existing main grottoes are all carved in the Northern Qi Dynasty. This paper mainly focuses on the grottoes decoration art of Xiangtang Mountain and Northern Qi. The Northern and Southern dynasties period is the period of rapid development of decorative art in China. At this time, the decorative art has not yet been finalized, because of the promotion and influence of Buddhism, lotus and other plant patterns become an important theme of expression, although there are a lot of grottoes in the Northern Dynasty. However, there is no uniform decorative style. The decorative art of Xiangtangshan Grottoes is very rich and unique, so this paper analyzes the historical position of Xiangtangshan decorative art in this special period. Because of the continuous war in the Northern Dynasty, regime change frequently, rulers often come from different nationalities, regime is built in different regions, so there is diversity and inclusiveness in decorative art, especially Xiangtangshan Grottoes. Some decorations are influenced by Yungang Grottoes; Some are similar to Longmen grottoes; Some directly inherit the decorative style of Buddhism, such as the ground of Nanxantang 5th Cave near the western leaf grain rheology of the honeysuckle pattern; Similar to the Yungang Grottoes, the twining branches of the Big Buddha Cave in the North Xiangtang are twined with honeysuckle patterns. More similar to the style of the Sui and Tang dynasties, such as curly grass grain, dragon grain decoration. And when Buddhism through the Sassan dynasty with a combination of beads, flame patterns into China, gradually change in Xiangtangshan Grottoes. Finally, the transition from Xiangtang Mountain round Lianzhu to the Sui and Tang Dynasty elliptical Lianzhu, which all reflect the Xiangtangshan Grottoes in the decorative arts heritage. This article draws lessons from the Japanese scholar Changguang Minxiong in "the Yungang Grottoes Decoration significance" to the grottoes temple Buddhist decoration art research classification. Xiangtangshan decorative art is also divided into architectural structure of decorative art and non-architectural structure of decorative art. The study of these two aspects basically covers most of the decorative contents of Xiangtangshan Grottoes. One of the important characteristics of Indian Buddhism in the process of spreading is the following spread. This point is more obvious in the Buddhist decorative art, through the classification of the Buddhist decorative art, especially on the Xiangtang Mountain Lonicera patterns, lotus patterns. The discussion of the typical Buddhist decorative patterns of dragon grain summarizes and reveals the basic characteristics of the decorative art of Xiangtang Mountain at that time. That is to say, Buddhist decoration experienced the process of development-communication-absorption-development-spread, in the process of communication, nationalization and localization is its inevitable trend. And Xiangtangshan grottoes decorative art has absorbed a large number of other cultures of Buddhist decorative art, but also into their own unique culture. All of these reflect the times, variability, culture and strong inclusiveness behind the Buddhist decorative art of Xiangtang Mountain.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：K879.2

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