本文選題：安岳石刻　切入點(diǎn)：冠飾研究　出處：《青島科技大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：佛教藝術(shù)是人類重要的文化資產(chǎn)之一,當(dāng)我們談起中國古代的石窟藝術(shù)時(shí),敦煌石窟、大同云岡石窟、洛陽龍門石窟、重慶大足石窟,其早已蜚聲海內(nèi)外。四川省文物部門自1982年開始對安岳縣內(nèi)的石窟進(jìn)行普查,清理出約十萬尊石刻造像,縣內(nèi)每個(gè)鄉(xiāng)鎮(zhèn)幾乎都有較大的石窟群,由此,安岳石刻從默默無聞佛教造像遺珠瞬間散發(fā)出璀璨的光芒。安岳石刻造像千姿百態(tài),他們或?yàn)槲《胍倭⒃谏介g,或靜謐盤坐于窟中,或安靜側(cè)臥于河畔;他們的造型有的肅穆清癯,有的安靜祥和,有的雄渾古拙,與山水相容宛如陳列在自然中的博物館。雍容祥和的佛、菩薩造型是安岳石刻的一大特色,每一尊寶冠雕刻唯美細(xì)膩、造型獨(dú)特,透露出獨(dú)特的時(shí)代的審美風(fēng)尚,這些精美寶冠的雕刻又使我們看出當(dāng)時(shí)人們對信仰的追求與崇拜。本文的主要研究對象為安岳石刻中的精美的寶冠雕刻藝術(shù),筆者深入當(dāng)?shù)卮彐?zhèn)以實(shí)地考察為基礎(chǔ),選擇有明確紀(jì)年且保存較好的實(shí)例作為本文切入點(diǎn)。首先,從政治歷史、宗教文化、自然地理等方面分析安岳石刻寶冠雕刻形成背景。其次,以美術(shù)考古與美術(shù)史樣式相結(jié)合的研究方法,對安岳石刻中的佛、菩薩寶冠進(jìn)行系統(tǒng)梳理和樣式考察,旨在總結(jié)出安岳石刻中寶冠雕刻一般規(guī)律性認(rèn)識(shí)并盡可能揭示其中蘊(yùn)藏的深層文化內(nèi)涵,將寶冠形態(tài)詳細(xì)劃分為四種類型:筒形冠、扇形冠、博鬢冠和頭巾式,探各種其寶冠樣式產(chǎn)生的原因背景。第三,針對不同時(shí)期造像特點(diǎn)對寶冠裝飾紋樣進(jìn)行分類,將其分為植物紋樣與佛教裝飾元素等四大類,闡釋其產(chǎn)生原因及蘊(yùn)含的宗教意義。第四,將安岳石刻哦寶冠造型與大足石刻寶冠相對比,從造像題材、裝飾元素方面對兩地寶冠造型的異同進(jìn)行分析,進(jìn)一步闡釋安岳風(fēng)格對大足石刻寶冠雕刻風(fēng)格的影響。最后,從冠飾整體造型結(jié)合圖像學(xué)方法分析安岳石刻寶冠所表現(xiàn)的精湛工藝,以及地域化、世俗化的審美意蘊(yùn),力圖對安岳石刻中分散且數(shù)量龐大的石刻造像風(fēng)格有新的認(rèn)識(shí)。安岳石刻造像盛行于中于唐宋時(shí)期,寶冠整體風(fēng)格細(xì)膩繁華,從這些精美絕倫的寶冠造型中,我們可以窺見安岳石刻的發(fā)展軌跡,以及造像風(fēng)格從簡到繁、由粗到精的變化。安岳石刻寶冠的獨(dú)特魅力,是印度佛教藝術(shù)和中西部石窟造像所無法比擬的。在寶冠雕刻諸多涵義日漸消失的今天,通過對安岳石刻寶冠的研究與整理,也讓我們對古代佛教造像中的服飾文化多一份理解與熱愛。
[Abstract]:Buddhist art is one of the most important cultural assets of mankind. When we talk about ancient Chinese grottoes, Dunhuang grottoes, Yungang grottoes in Datong, Longmen grottoes in Luoyang and Dazu grottoes in Chongqing. It has long been famous at home and abroad. Since 1982, the Sichuan Provincial Department of Cultural relics has conducted a general survey of the grottoes in Anyue County, clearing out about 100,000 stone carvings. Almost every township in the county has a larger group of grottoes, and as a result, Anyue stone carvings from the unknown Buddhist statues of the bead exudes a bright light. Anyue stone statues in various forms, they either stand tall in the mountains, or quiet plate sitting in the grottoes, or quietly lying side in the riverside; Some of their shapes are solemn and thin, some are quiet and peaceful, some are vigorous and ancient clumsy, and they are compatible with mountains and rivers like museums on display in nature. The graceful and peaceful Buddha and bodhisattva shape are a major feature of Anyue stone carvings. Each treasure crown carving beautiful delicate, unique shape, revealing a unique era of aesthetic fashion, The sculptures of these exquisite treasure crowns make us see the pursuit and worship of faith at that time. The main research object of this paper is the fine carving art of treasure crowns in Anyue stone carvings. The author goes deep into the local villages and towns on the basis of field investigation. First of all, from the political history, religious culture, natural geography and other aspects of Anyue stone carving crown carving background analysis. With the method of combining art archaeology with art history style, this paper systematically combs the Buddha and Bodhisattva treasure crown in Anyue stone carvings, and investigates the style of the Buddha and bodhisattva treasure crown in Anyue stone carvings. The aim of this paper is to summarize the general regularity of treasure crown carving in Anyue stone carvings and to reveal as much as possible the deep cultural connotation contained therein, and to divide the shape of treasure crown into four types in detail: cylindrical crown, fan crown, temples crown and headscarf type. Third, according to the characteristics of different periods, the decorative patterns of the treasure crown are classified into four categories: plant patterns and Buddhist decorative elements. Explain its causes and religious significance. 4th, compare the modeling of Anyue stone carving with that of Dazu stone carvings, and analyze the similarities and differences between the models of the two places from the aspects of sculpture subject matter and decorative elements. It further explains the influence of Anyue's style on the carving style of Dazu stone carving crown. Finally, it analyzes the exquisite craft of Anyue stone engraving crown, as well as its regional and worldly aesthetic implication, from the overall modeling of the crown with the method of image science. Trying to have a new understanding of the scattered and large number of stone sculptures in Anyue stone carvings. The stone carvings of Anyue prevailed in the Tang and Song dynasties, and the overall style of the treasure crown was exquisite and prosperous. We can see the development track of Anyue stone carving, and the change of image style from simplicity to complexity, from coarse to fine. The unique charm of Anyue stone carving treasure crown, The Buddhist art of India and the statues of the central and western grottoes are unparalleled. In today's time when many meanings of the carving of the treasure crown are disappearing, through the study and arrangement of the treasure crown of Anyue stone carvings, Let us also understand and love the costume culture in ancient Buddhist statues.
【學(xué)位授予單位】：青島科技大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J314.3

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