本文選題：唐代 + 背光�。� 參考：《四川大學(xué)》2006年碩士論文

【摘要】：這是一篇研究廣元初盛唐時(shí)期佛教造像背光的文章。佛教造像背光是佛教在中國發(fā)展的標(biāo)志之一，，背光在圖案的表現(xiàn)方面，為古代圖案藝術(shù)創(chuàng)造了美的典范，成為中國圖案藝術(shù)史上最輝煌燦爛的一頁。作者通過赴廣元千佛崖、皇澤寺實(shí)地考察研究，從千佛崖、皇澤寺的歷史和唐朝時(shí)期政治、經(jīng)濟(jì)、文化對其影響的幾個(gè)角度展開論述，從一個(gè)側(cè)面研究初盛唐時(shí)期佛像背光的狀態(tài)和特點(diǎn)。 唐代是我國封建時(shí)期政治經(jīng)濟(jì)和文化發(fā)展的高峰，也是當(dāng)時(shí)世界上最先進(jìn)的國家之一。國家的統(tǒng)一，促進(jìn)了封建經(jīng)濟(jì)文化的繁榮與發(fā)展。盛唐是我國古代文明光輝燦爛的時(shí)期，各種文化藝術(shù)在我國文化史上都達(dá)到了新的高度，在當(dāng)時(shí)的世界文化領(lǐng)域，也處于領(lǐng)先的地位。佛像的裝飾藝術(shù)作為佛教在中國發(fā)展的標(biāo)志之一，代表了當(dāng)時(shí)中國美術(shù)的最高水平，影響并推動了民間風(fēng)俗藝術(shù)的興起與繁榮。石窟藝術(shù)是中國文化在佛教美術(shù)中的集中反映。五代時(shí)期在政治上雖然分裂割據(jù)，但在文化方面卻繼續(xù)發(fā)展。石窟藝術(shù)在繼承傳統(tǒng)和不斷吸收外來經(jīng)驗(yàn)的基礎(chǔ)上得到進(jìn)一步發(fā)展。使得唐代的佛像背光裝飾亦登上了前所未有的精美富麗的高峰。千佛崖、皇澤寺大量的唐代雕像為研究佛教造像背光及其背光的式樣提供了非常好的資料。廣元是中國佛教由北向南的傳播樞紐，研究廣元千佛崖、皇澤寺的佛像背光是探索整個(gè)唐代佛教背光在初唐、盛唐階段的式樣、風(fēng)格的變化及其特征的一把鑰匙，這有助于我們了解佛教造像裝飾藝術(shù)和唐代背光圖案式樣的特點(diǎn)。證明了我國佛教藝術(shù)到了隋唐時(shí)代已達(dá)到高度發(fā)展階段，呈現(xiàn)出絢麗多姿的藝術(shù)風(fēng)姿。在調(diào)查四川廣元唐代石窟的佛像背
[Abstract]:This is an article on the backlight of Buddhist statues in the early Tang Dynasty. The backlight of Buddhist statues is one of the symbols of the development of Buddhism in China. The backlight has created a beautiful model for the ancient design art and has become the most splendid page in the history of Chinese design art. Through the field investigation and study of Qianfoya and Huangze Temple in Guangyuan, the author discusses the history of Qianfoya, Huangze Temple and the influence of politics, economy and culture on the Qianfoya, Huangze Temple in Tang Dynasty. This paper studies the state and characteristics of the backlight of the Buddha statue in the early Tang Dynasty from one side. Tang Dynasty was the peak of political economy and culture development in feudal period of our country, and it was one of the most advanced countries in the world at that time. The unification of the country promoted the prosperity and development of feudal economy and culture. The prosperous Tang Dynasty was a glorious period of ancient civilization in China. All kinds of culture and art reached a new height in the cultural history of our country, and they were also in the leading position in the field of world culture at that time. As one of the symbols of the development of Buddhism in China, the decorative art of Buddha represented the highest level of Chinese art at that time, and influenced and promoted the rise and prosperity of folk custom art. Grottoes art is a concentrated reflection of Chinese culture in Buddhist art. Although the political division of the five dynasties, but in the cultural aspect has continued to develop. Grottoes art has been further developed on the basis of inheriting tradition and absorbing foreign experience. The Tang Dynasty Buddha statue decoration also mounted the unprecedented beautiful and rich peak. Thousands of Buddha Cliffs, Huangze Temple a large number of Tang Dynasty statues for the study of Buddhist statues and their backlight patterns provide very good information. Guangyuan is the transmission hub of Chinese Buddhism from north to south. Studying the back light of Buddha statues in Guangyuan Qianya and Huangze Temple is a key to explore the style, style and characteristics of Buddhism backlight in the early Tang Dynasty and the prosperous Tang Dynasty. This helps us to understand the decorative art of Buddhist statues and the characteristics of the Tang Dynasty backlight patterns. It proves that the Buddhist art of our country has reached a high level of development in Sui and Tang dynasties, showing a splendid artistic demeanour. An investigation of the Buddha's back in the Tang grottoes in Guangyuan, Sichuan
【學(xué)位授予單位】：四川大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：B948

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 桑春花;漢地佛教文化視覺符號的演變研究[D];江南大學(xué);2011年

2 張婕;云南漢傳佛教羅漢造像藝術(shù)及其文化研究[D];昆明理工大學(xué);2012年

本文編號：1786473