本文選題：響堂山　切入點(diǎn)：裝飾紋樣　出處：《蘇州大學(xué)》2008年碩士論文　論文類型：學(xué)位論文

【摘要】： 響堂山石窟始鑿于北齊文宣帝高洋時(shí)期,以后隋、唐乃至宋、明都有增鑿,但主要石窟造像均為北齊(公元550—公元577年)時(shí)期雕造。是中國北齊時(shí)期遺留下來的最大的石窟遺存。在北齊的二三十年間,皇室貴族于響堂山、天龍山等地大規(guī)模地鑿山開窟,促進(jìn)了中國古代雕刻藝術(shù)的蓬勃發(fā)展,出現(xiàn)了具有劃時(shí)代意義的新風(fēng)格。 因天龍山石窟大部分被毀,響堂山石窟雖然也受到了破壞,但保存相對(duì)完整,尤其是石窟的裝飾紋樣所受破壞最小,因此,本文對(duì)北齊石窟研究的主要對(duì)象是邯鄲響堂山石窟的裝飾紋樣。因是帝室貴族營建,所以裝飾紋樣資料豐富集中,雕琢工藝精湛優(yōu)美,幾乎囊括了北齊一代雕刻的主流。如果想了解北齊雕刻藝術(shù)的成就及它在中國紋樣史上的地位,就必須對(duì)這些保存良好的響堂山石窟裝飾紋樣進(jìn)行系統(tǒng)綜合的研究。 本研究課題的主要目的在于總結(jié)響堂山石窟裝飾紋樣的藝術(shù)特點(diǎn),并進(jìn)行進(jìn)一步的分類歸納,從而探究它上接云崗、龍門石窟,下啟隋唐新風(fēng)的歷程。通過對(duì)響堂山石窟裝飾紋樣的發(fā)展,以及裝飾紋樣的不同來源和相互影響關(guān)系的探討,分析各類裝飾紋樣發(fā)展演變的線索,以期從石窟裝飾花紋的這些演變中領(lǐng)略中古時(shí)期文化藝術(shù)發(fā)展的整體風(fēng)貌。
[Abstract]:Xiangtangshan Grottoes were first cut in the period of Emperor Wenxuan Gao Yang in Northern Qi, and then increased in Sui, Tang and Song dynasties. But the main grottoes were carved in the Northern Qi Dynasty (550 AD-577 AD). They were the largest remains of the caves left over from the Northern Qi Dynasty. In the 20 or 30 years of the Northern Qi Dynasty, the royal nobles were in Xiangtang Mountain. The large-scale excavation of caves in Tianlong Mountain and other places promoted the vigorous development of ancient Chinese carving art, and a new epoch-making style appeared. Because most of the Tianlongshan Grottoes were destroyed, although the Xiangtangshan Grottoes were destroyed, they were relatively intact, especially the decorative patterns of the grottoes suffered the least damage. The main object of this paper is the decorative pattern of Xiangtangshan Grottoes in Handan. Because it was built by the aristocrats in the imperial chamber, the decorative patterns are abundant and concentrated, and the ornament is exquisite in craftsmanship. If we want to understand the achievements of the carving art of the Northern Qi Dynasty and its status in the history of Chinese patterns, we must make a systematic and comprehensive study of these well-preserved decorative patterns of Xiangtangshan Grottoes. The main purpose of this research is to summarize the artistic characteristics of decorative patterns in Xiangtangshan Grottoes, and to further classify and sum up them, so as to explore its connection with Yungang Grottoes and Longmen grottoes. The course of the new style in Xiqi Sui and Tang dynasties. Through the discussion of the development of decorative patterns in Xiangtangshan Grottoes, as well as the different sources and mutual influence relations of decorative patterns, this paper analyzes the clues of the development and evolution of all kinds of decorative patterns. From these evolution of grottoes decorative patterns, I hope to understand the overall style of the development of culture and art in the Middle Ancient period.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：K879.2

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本文編號(hào)：1563654