本文關(guān)鍵詞： 大足石刻 視覺 敘事 審美特征　出處：《西南大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：大足石刻是我國佛教藝術(shù)的杰出之作,比起我國敦煌、龍門石窟等造像莊嚴(yán)華麗的神像,大足石刻代表了晚期佛教石刻特有的審美趣味,造像特征的人間化和豐富的視覺敘事格局賦予了大足石刻獨(dú)一無二的美學(xué)價值,“連環(huán)畫”式的群像造像也具有不同于北方造像的獨(dú)特視覺敘事研究價值。所以筆者的主要研究對象就是大足石刻中以寶頂山大佛灣石刻為主的群像視覺敘事演變和審美特征。除了寶頂山大佛灣作為主要研究對象之外,本文的內(nèi)容還涉及其北山石刻,石篆山石刻等單龕佛像的視覺敘事風(fēng)格和審美特征。上個世紀(jì)末九十年代以來大足石刻在中國經(jīng)歷了佛教從魏晉到隋唐的時間軸轉(zhuǎn)變,這種轉(zhuǎn)變不僅是佛教本土化的過程,也是佛教造像從莊嚴(yán)華麗到世俗化人間化的視覺敘事審美轉(zhuǎn)向的過程。被評為世界非物質(zhì)文化遺產(chǎn)以后,儒釋道三教合一造像所體現(xiàn)的審美觀和視覺敘事表現(xiàn)手法是空前的,十足的中國化了。但目前的研究多停留在文物保護(hù),硬件維修,旅游開發(fā)等層面,也有學(xué)者感受到了大足石刻是視覺造像的寶貴遺產(chǎn),從大足石刻藝術(shù)造型等方面為主,比如已故的王朝聞先生曾高度贊揚(yáng)大足石刻,并稱普賢菩薩為“東方維納斯”的理念,但目前鮮少有人從視覺敘事的角度來研究,因此本文是從視覺敘事的角度來論述大足石刻。本文分為四章,試圖第一章從大足石刻存在形態(tài)以及視覺敘事話語的角度來論述,第二章從題材維度來論述,第三章從三教合一的角度導(dǎo)致人間化,世俗化的敘事風(fēng)格來作探討。本文的研究方法采用人類學(xué)的考察方式,建立在深入分析大足石刻視覺敘事,同時也用了圖像解釋學(xué)的方法以及比較研究法來探究大足石刻和麥積山石窟,敦煌石窟,云岡石窟的差異。通過本文的論述得出大足石刻作為中國晚期石刻代表的杰作,在敘事方面也達(dá)到了最高層面。在單體,群像都有自己獨(dú)特的敘事話語,從內(nèi)容上也指向了兩宋時期巴蜀地區(qū)人們的生活情態(tài)。世界遺產(chǎn)中心的協(xié)調(diào)員考察大足時認(rèn)為它符合申報條件的原因是:“佛教,道教,儒教三教造像能真實(shí)的反映當(dāng)時中國社會的哲學(xué)思想和風(fēng)土人情”,的確,對于儒釋道三教合一的石窟雕像中,論反映哲理系統(tǒng)深邃,涉獵生活面豐富廣闊,布局完善周密,視覺敘事風(fēng)格獨(dú)特,都應(yīng)首推大足寶頂石窟。
[Abstract]:Dazu stone carving is one of the outstanding works of Buddhist art in our country. Compared with the majestic idols of Dunhuang, Longmen Grottoes and other statues, Dazu stone carvings represent the unique aesthetic taste of late Buddhist stone carvings. The unique aesthetic value of Dazu stone carving is endowed by the humanization of the portrait features and the rich visual narrative pattern. The group images of "comic strip" also have unique visual narrative research value which is different from that of the northern statues. Therefore, the pen has its own unique value in the study of visual narration. The main object of study is the visual narrative evolution and aesthetic characteristics of the group images in Dafawan stone carvings of Baoding Mountain, in addition to the Dafo Bay of Baoding Mountain as the main research object. The content of this paper also deals with the visual narrative style and aesthetic characteristics of the Buddhist statues of the Beishan Stone carving, the Stone Seal Stone carving, the Stone inscription of the Stone inscription of the Mount Beishan, etc. Since the end of 0th century and 90s, Dazu stone carvings have experienced the time axis transformation of Buddhism from Wei and Jin to Sui and Tang dynasties in China. This transformation is not only the process of the localization of Buddhism, but also the process of changing the aesthetic of the visual narrative of Buddhist statues from grandeur to secularization. After being appraised as the intangible cultural heritage of the world, The aesthetic and visual narrative techniques embodied in the statues of Confucianism, Buddhism, Taoism and Taoism are unprecedented and completely Chinese. However, at present, most studies remain at the levels of cultural relic protection, hardware maintenance, and tourism development. Some scholars have also felt that Dazu stone carvings are a valuable heritage of visual statues, mainly in terms of the artistic modeling of Dazu stone carvings. For example, the late Mr. Wang Zhaowen once highly praised Dazu stone carvings and called the Bodhisattva the concept of "East Venus." But few people study it from the angle of visual narration, so this paper discusses Dazu stone carvings from the angle of visual narration. This paper is divided into four chapters, the first chapter tries to discuss Dazu stone carvings from the angle of the existential form of Dazu stone carvings and the visual narrative discourse. The second chapter discusses from the subject dimension, the third chapter from the angle of integration of the three religions leads to the world, secularized narrative style to explore. The research method of this paper is based on the in-depth analysis of the Dazu stone carving visual narrative. At the same time, we also use the method of image hermeneutics and comparative study to explore the difference between Dazu stone carving and Mai Jishan Grottoes, Dunhuang Grottoes and Yungang Grottoes. In the narrative aspect also reached the highest level. In the individual, the group image has its own unique narrative discourse, In terms of content, it also points to the lifestyle of people in the Bashu region during the Song Dynasty. When the coordinator of the World Heritage Center visited Dazu, he thought that the reasons why it met the requirements for declaration were: "Buddhism, Taoism, The statues of the three religions of Confucianism can truly reflect the philosophical thoughts and local customs of the Chinese society at that time. "indeed, for the grottoes statues of Confucianism, Buddhism, Taoism and Taoism in one, the philosophical system is profound, the scope of life is rich and vast, and the layout is perfect and thorough. Visual narrative style is unique, should be the first Dazu Baoding Grottoes.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J315

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本文編號：1554573