本文選題：雕塑者　切入點(diǎn)：雕刻技法　出處：《中央美術(shù)學(xué)院》2013年碩士論文

【摘要】：中國(guó)傳統(tǒng)造像經(jīng)過(guò)夏、商、周、秦、漢的發(fā)展,在南北朝時(shí)期出現(xiàn)第一個(gè)佛教造像的高峰,這個(gè)時(shí)期的佛教造像對(duì)中國(guó)傳統(tǒng)藝術(shù)影響深遠(yuǎn),直至當(dāng)今社會(huì)。南朝背屏式造像手法嚴(yán)謹(jǐn),技藝嫻熟,技法多樣,已經(jīng)發(fā)展到相當(dāng)成熟的地步,很多方面今人都難以企及。 本文從雕塑者的角度出發(fā),在對(duì)全國(guó)幾十所古代石窟寺和博物館的參觀考察的基礎(chǔ)上,結(jié)合自己平時(shí)的雕塑創(chuàng)作實(shí)踐,比較深入的研究了四川成都出土的南朝背屏式造像的雕刻技法,自己獲益匪淺,從中發(fā)現(xiàn)了很多不太引人關(guān)注的雕刻手法和雕塑處理原則。本文首先梳理出南朝背屏式造像的由來(lái),包括中國(guó)本土的藝術(shù)積淀和外國(guó)佛教造像傳入的影響,中外雕塑藝術(shù)融合,從而催生出南朝背屏式造像這個(gè)精美絕倫的藝術(shù)奇葩。然后筆者著重書(shū)寫(xiě)南朝背屏式造像的雕塑技巧,主要從三個(gè)角度來(lái)論述：甲方的角度,作者的角度和今人的角度。接著簡(jiǎn)要介紹了南朝背屏式造像對(duì)當(dāng)時(shí)和今后中國(guó)傳統(tǒng)藝術(shù)的影響。 本文旨在通過(guò)研究介紹南朝背屏式造像的雕刻技法,讓更多的人從雕塑家本身的角度來(lái)了解中國(guó)傳統(tǒng)雕塑藝術(shù),使傳統(tǒng)藝術(shù)為今人所用,從中得到新鮮的創(chuàng)作營(yíng)養(yǎng)。
[Abstract]:After the development of the Xia, Shang, Zhou, Qin and Han dynasties, the Chinese traditional statues reached the peak of the first Buddhist statue during the Northern and Southern dynasties, which had a profound impact on Chinese traditional art. Up to now, the back screen image of the Southern Dynasty is rigorous, skillful and diverse, and has developed to a very mature stage, which is difficult to reach in many aspects. From the sculptor's point of view, on the basis of a visit to dozens of ancient grotto temples and museums throughout the country, this paper combines his usual sculpture creation practice. I have deeply studied the engraving techniques of the back screen statues unearthed in Chengdu, Sichuan Province, and have benefited a lot from them. In this paper, we find a lot of less interesting sculpture techniques and principles of sculpture treatment. This paper first combs out the origin of the back screen statues of the Southern Dynasty, including the influence of the Chinese native art accumulation and the foreign Buddhist statues, and the fusion of Chinese and foreign sculpture art. Then the author emphasizes on writing the sculpture skills of the back screen statue of the Southern Dynasty, mainly from three angles: the angle of Party A, The author's point of view and the present man's angle. Then it briefly introduces the influence of the back screen image of the Southern Dynasty on the traditional Chinese art at that time and in the future. The purpose of this paper is to introduce the engraving techniques of the back screen sculptures of the Southern Dynasty, so that more people can understand the Chinese traditional sculpture art from the angle of the sculptors themselves, so that the traditional art can be used by modern people and get fresh creative nourishment from it.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J315

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 呂q;中國(guó)秦漢雕塑興盛原因初探[D];江西師范大學(xué);2007年

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本文編號(hào)：1666413