本文關(guān)鍵詞： 宗教藝術(shù) 唐代佛寺壁畫 世俗化 意大利教堂壁畫 文藝復(fù)興 人文主義　出處：《山東師范大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】： 由于地理環(huán)境、社會(huì)環(huán)境以及人文環(huán)境的差異,不同民族、不同地區(qū)的文化就必然有不同的特質(zhì)。世界上任何一個(gè)國家或民族都創(chuàng)造了燦爛而富有特色的民族文化,文化的民族性奠定了世界文化的多樣性,又決定了文化交流的可能性和必要性,世界文化的差異性和一體性就是在這種文化交流中涌現(xiàn)出來的。差異是交流的前提,任何文化交流都是在對差異的發(fā)現(xiàn)中進(jìn)行的,只有積極地了解不同文化的不同特點(diǎn),才能較好地去把握中西繪畫的特質(zhì)。以文化的比較為基礎(chǔ),會(huì)給人以哲理性的、更加深入的思考。 佛教與基督教在人類歷史上的影響甚巨,本文試圖探討這兩種宗教的壁畫藝術(shù)特點(diǎn)及其人文精神傳統(tǒng),所選取的中國唐代與意大利文藝復(fù)興兩個(gè)時(shí)代,分別是東西方歷史上宗教藝術(shù)較為繁榮的時(shí)期,并且同屬宗教理想與人生現(xiàn)實(shí)的碰撞、融合期。壁畫圖像在表征歷史神話和宗教教義方面的不同藝術(shù)表現(xiàn)形式與方法,提供了一種視角獨(dú)特的佛教與基督教的比較性研究路徑。 宗教藝術(shù)的繁榮是中國和歐洲歷史上都曾經(jīng)歷過的現(xiàn)象,本文選取的兩個(gè)實(shí)例,都在各自的宗教藝術(shù)發(fā)展中具有較高的代表性。其中,意大利文藝復(fù)興時(shí)期的教堂壁畫,被認(rèn)為是基督教與人文主義表現(xiàn)結(jié)合時(shí)期最偉大的宗教繪畫樣式;而唐代佛寺壁畫,則被認(rèn)為是佛教與中國儒教結(jié)合以后帶有封建政治烙印的藝術(shù)杰作。 本文立足于對二者宗教傳達(dá)所屬的文化語境的把握,闡述中國與意大利(歐洲)在歷史、文化、宗教、哲學(xué)等背景下的繪畫語言表達(dá)的差異,顯然,這種差異是十分清晰的。同時(shí),中國唐代和意大利文藝復(fù)興時(shí)期在各自的宗教發(fā)展史上,有一共同特點(diǎn),即都處于宗教“世俗化”時(shí)期,也即宗教文化與民族歷史、現(xiàn)世生活融合的時(shí)期,這就為二者的可比性提供了論述依據(jù)和生活空間。這也正是本文研究的一點(diǎn)特點(diǎn)所在:從宗教的視角來解讀藝術(shù)樣式對文化的折射,以及東西方不同的歷史、文化、民族諸背景下的藝術(shù)面貌。 不同的宗教文化具有不同的符號(hào)象征體系,繪畫藝術(shù)正是一個(gè)合適的進(jìn)行跨文化比較的合適的文化符號(hào)。 西方宗教精神與中國宗教精神的異質(zhì)是涇渭分明的:一個(gè)是超脫的,純精神的和神權(quán)至上的;一個(gè)是物質(zhì)化的,帶有現(xiàn)世色彩,功利性和宣揚(yáng)君權(quán)的作用。宗教活動(dòng)在客觀上起到了激發(fā)社會(huì)精神需求的作用,所以無論在東方或西方,宗教信仰的興起總是伴隨著藝術(shù)創(chuàng)作的繁盛。 佛教自兩漢傳入中原,至隋唐進(jìn)入本土化、世俗化時(shí)期。大量攝取儒、道等中國傳統(tǒng)文化的思想內(nèi)容和方法,孕育出了宣揚(yáng)因果輪回、綱常倫理、忠孝節(jié)義等的中國化宗教樣式,反映了佛教對中國文化的兼容性,以及外來佛教與中國本土文化的融合性。 意大利文藝復(fù)興時(shí)期的人文主義精神,是在基督教精神仍然主導(dǎo)人們的內(nèi)心世界的情況下逐漸生成的。當(dāng)時(shí)大量的宗教活動(dòng)不但活躍了當(dāng)時(shí)的文化生活,也為藝術(shù)創(chuàng)作提供了新的創(chuàng)作契機(jī)和動(dòng)力。在人文思想興起的時(shí)候,基督教主題在文化藝術(shù)中仍然被更廣泛地接受,這是基督教社會(huì)深層文化積淀的反映,基督教對彼岸世界的描繪深入人心,隨時(shí)都在暗示人們注意自己靈魂的歸宿,并在壁畫創(chuàng)作中依托宗教神話題材而得到表現(xiàn),實(shí)現(xiàn)了傳統(tǒng)與現(xiàn)實(shí)的完美結(jié)合。 論文從人物表情狀態(tài)、造型、色彩等諸方面論證了唐代寺院壁畫與意大利文藝復(fù)興時(shí)期教堂壁畫的異同。文藝復(fù)興時(shí)期的美術(shù)求真實(shí)與現(xiàn)實(shí)之美,在手法上更寫實(shí),觀察和表現(xiàn)也都更貼近現(xiàn)實(shí)。他們用濃厚的生活情調(diào)削弱了神與人的距離,強(qiáng)調(diào)了神的博愛,回避了神的權(quán)威。他們可以將現(xiàn)實(shí)的人與生活帶入到基教的故事中去,將宗教的光環(huán)放到真實(shí)的生活中。表明在這些藝術(shù)家看來,基督教所倡導(dǎo)的精神就在現(xiàn)實(shí)生活中,人本身就具有宗教所追求的崇高精神。文藝復(fù)興的宗教藝術(shù)就是在這樣一個(gè)新的“宗旨”下,用不同于中國唐代壁畫的手法,但同樣虔誠認(rèn)真的刻畫宗教故事,表達(dá)宗教思想。 藝術(shù)與宗教一樣,一方面它是某種特定文化生長出來的果實(shí);另一方面,它又是對自身以及生養(yǎng)它的文化的評(píng)判。文藝復(fù)興時(shí)期的美術(shù)追求基于現(xiàn)實(shí)的理想之美,而唐代繪畫藝術(shù)追求神性在現(xiàn)實(shí)的體現(xiàn),是一種虔誠的現(xiàn)實(shí)之美。兩者用不同的手法,但同樣虔誠認(rèn)真地刻畫宗教故事,表達(dá)出屬于特定時(shí)代的思想。
[Abstract]:Due to the geographical environment, social environment and cultural differences, the environment of different nationalities, different regions of the culture will have different qualities. The world of any country or nation has created a splendid and distinctive ethnic culture, ethnic culture has laid the cultural diversity of the world, and determines the possibility and necessity of cultural exchange, diversity and integration of world culture is emerging in the cultural exchanges. The difference is the precondition of communication, any cultural exchange is in the difference in the different characteristics, only positive solutions of different cultures, in order to better grasp the characteristics of Chinese and Western painting. Comparison of culture as the foundation, can give a person with philosophical, more in-depth thinking.
The influence of Buddhism and Christianity in human history is very huge, this paper attempts to explore these two religious mural art characteristics and the traditional humanistic spirit, the Chinese Tang Dynasty and the Renaissance in Italy two times, respectively, when the period of Western history of religious art is more prosperous, and the collision, belong to the same religious ideal and the reality of life the mural image fusion period. In the characterization of historical myths and religious teachings of different art forms and methods, provides a unique perspective of Buddhism and Christianity of the path.
Religious art is the prosperity of China and European history have experienced the phenomenon, this paper selects two examples, the representative is high in their religious art development. Among them, the Italy Renaissance fresco, considered Christianity and humanism with the greatest period of religious paintings style; and the Tang Dynasty Buddhist temple murals, is considered after Buddhism and Confucianism combined with China feudal political brand works of art.
This paper based on the two religion belongs to convey the cultural context of Chinese grasp, and Italy (Europe) in history, culture, religion, etc. obviously, the expression of philosophy under the background of the painting language, this difference is very clear. At the same time, Chinese Tang Dynasty and the Renaissance in Italy in the development of religion the history, have a common feature, namely in the period of religious secularization, namely religious culture and national history, life during fusion, which can be described as the two basis and provide living space than sex. This is the point where the characteristics: Interpretation of refraction artistic style of culture from a religious perspective, and history, Eastern and Western cultures, the nation under the background of the appearance of art.
Different religious cultures have different symbolic system, and painting art is a suitable cultural symbol for cross-cultural comparison.
The heterogeneity of Western religious spirit and China religious spirit is quite distinct from each other: one is detached, the pure spiritual and theocratic supremacy; one is the material of the world, with color, utilitarian and promote monarchical role. Religion plays a role in stimulating the social spiritual needs objectively, so in terms of East or west, the rise of religious belief is always accompanied by the prosperity of the art creation.
Buddhism spread to China from the Han Dynasty to the Sui and Tang Dynasties, into the localization of secular period. Large quantities of Confucianism, the thought content and method etc China of traditional culture, gives birth to preach karma, feudal ethics, filial piety and the China religious style, reflects the compatibility of Buddhism on Chinese culture, and the integration of Buddhist and Chinese the local culture.
Italy Renaissance humanism spirit, in the spirit of Christianity still dominate people's inner world situation gradually generated. When a large number of religious activities not only enlivened the cultural life, but also provides opportunities for creation and new impetus for artistic creation. With the rise of humanism and Christian themes are still more widely accepted in culture and art, which is a reflection of the Christian social deep cultural accumulation, on the other side of the world depicted Christian people, always implied in the attention of his soul, and have been relying on religious mythology in the fresco, realizes the perfect combination of tradition and reality.
The expressions of the characters, shape, color and other aspects of the Tang Dynasty temple murals and demonstrates the similarities and differences between the Italy Renaissance church murals. Renaissance art and the beauty of truth and reality, in the way to more realistic, observation and performance are more close to the reality. They weaken the distance between God and man with the strong life atmosphere, emphasis on God's fraternity, avoided the authority of God. They can be people and the reality of life into the basic story to the religious aura in real life. It appears in these artists, Christianity advocated by the spirit in the real life, people themselves with the lofty spirit of religious pursuit. Religious art of the Renaissance is in such a new "purpose", different from the Tang Dynasty Murals China practices, but also seriously depict pious religious stories, religious expression Thought.
Art and religion, on the one hand it is a particular cultural growth of the fruit; on the other hand, it is on their own and have its cultural judgment. Renaissance art pursuit based on the reality of the ideal of beauty, and the Tang Dynasty painting art pursuit of divinity in reality, is a devout reality beauty. Two different methods, but also carefully depict pious religious stories, express a specific age thought.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：B91

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

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本文編號(hào)：1462735