本文選題：五臺山　切入點(diǎn)：唐代彩塑　出處：《太原理工大學(xué)》2017年碩士論文

【摘要】：隋唐是中國也是山西雕塑藝術(shù)的鼎盛時期,山西很多寺觀彩塑作為佛教藝術(shù)的載體,或繪或塑,無不如此,與中國傳統(tǒng)繪畫藝術(shù)的相融互鑒改變了泥塑材質(zhì)的單調(diào)性,豐富了塑像的藝術(shù)語言,在造像藝術(shù)世俗化本土化的變革中起著重要作用,構(gòu)成了我國佛教造像藝術(shù)有別于西方印度造像的獨(dú)特藝術(shù)魅力。由于山西古代寺觀彩塑分散于全省各地,故而全面系統(tǒng)地研究不是短期內(nèi)所能完成之事,位于山西省五臺山的南禪寺和佛光寺因其雄壯渾厚的唐代木構(gòu)建筑藝術(shù)和豪放古拙的唐代彩塑藝術(shù)而馳名古今中外,是唐朝社會悠久而珍貴的歷史文化遺跡,因此文章以二寺的唐代彩塑作為考察研究中心。寺內(nèi)彩塑是國內(nèi)僅存為數(shù)不多的唐代寺廟造像,年代相近,在藝術(shù)風(fēng)格上都不同程度地保留了唐代遺風(fēng),但又各具特點(diǎn),是我國唐代佛教藝術(shù)的精華,被視為中國古代彩塑中的精品,充分展現(xiàn)了唐朝社會塑像制作的最高境界,完美詮釋了塑與繪的相互補(bǔ)益。五臺山南禪佛光二寺殿內(nèi)佛壇唐代彩塑布局嚴(yán)謹(jǐn),秉承唐宋時期寺院殿堂造像組合形式,氣勢恢宏。人物豐濃,肌勝于骨,盡顯唐風(fēng)。人物造型在寫實塑造比例、體型、結(jié)構(gòu)的基礎(chǔ)上,以探索其氣脈理致為依托,精心細(xì)致的刻畫不同人物的神情面貌,力求表現(xiàn)人物形神、氣韻。塑像在藝術(shù)表現(xiàn)形式上使用的語言包括:色彩、線條都不具備獨(dú)立性,仍然是中國傳統(tǒng)繪畫體系的一部分。其色彩的構(gòu)成,線描藝術(shù),暈染規(guī)律都同中國繪畫藝術(shù)一樣,其中包含了濃重的審美心理因素和審美創(chuàng)造因素。線條的融入,加之色彩以單色平涂并置的表現(xiàn)形式使色塊呈排比方式,整體構(gòu)成平面的視覺形態(tài)。塑像群鋪式的組合既合儀軌又巧妙地展現(xiàn)了中國繪畫構(gòu)圖的形式美感:參差錯落統(tǒng)一于對稱均衡之勢,小中見大統(tǒng)一于場面分割結(jié)構(gòu)之中,動靜相依統(tǒng)一于特定的佛教情境之內(nèi),呈現(xiàn)出平面向立體過渡的明顯特點(diǎn)。此外塑像在弘傳佛法的過程中運(yùn)用指意象征,以物喻法的藝術(shù)手法借鑒了中國傳統(tǒng)繪畫中“象外之境”“言外之意”的意境理論,對于佛教理念的敘述和表達(dá)方式上表現(xiàn)為抽象、飄逸,塑造具有詩意的佛教故事情節(jié),構(gòu)成與中國傳統(tǒng)繪畫意境創(chuàng)造中講究詩畫一體相同的藝術(shù)特點(diǎn),充分體現(xiàn)了塑與繪的互通性,使塑像呈現(xiàn)出更加典型的東方審美意趣。二寺塑像中體現(xiàn)的繪畫性既是對我國傳統(tǒng)雕塑繪塑不分家的一種傳承,同時一定程度上也受當(dāng)朝繪畫風(fēng)格的影響呈現(xiàn)出相同的流行樣式。
[Abstract]:The Sui and Tang dynasties were the heyday of sculpture art in China and Shanxi. As a carrier of Buddhist art, color sculptures of many temples and temples in Shanxi were painted or sculpted, all of which changed the monotonicity of clay sculpture materials by blending with the traditional Chinese painting art and learning from each other. Enriched the artistic language of the statue, and played an important role in the localization of the image art. The unique artistic charm of Buddhist statue art in China is different from that of western India. Because the colorful statues of ancient temples in Shanxi are scattered all over the province, a comprehensive and systematic study is not something that can be accomplished in a short time. Nanchen Temple and Buddhist Temple, located in Wutai Mountain, Shanxi Province, are famous for their magnificent wooden architecture art of the Tang Dynasty and bold and clumsy Tang Dynasty color sculpture art, which is a long and precious historical and cultural relic of the Tang Dynasty society. Therefore, the article takes the Tang Dynasty color sculptures of the two monasteries as the research center. There are only a few statues of the Tang Dynasty in China, which are similar in age and have different artistic styles, but each has its own characteristics. It is the essence of the Buddhist art of Tang Dynasty in our country. It is regarded as a fine work in the ancient Chinese color sculptures, and it fully shows the highest state of making statues in the Tang Dynasty society. It perfectly interprets the mutual benefit of sculpture and painting. The Buddhist altar in the temple of the second Temple of Buddhist Light in South of Wutai Mountain has a rigorous layout, inheriting the combination form of temples and temples in the Tang and Song dynasties, and it is magnificent. The figures are rich and strong, and the muscles are superior to the bones. On the basis of realistic portrayal of proportion, shape and structure, and relying on the exploration of its Qi and pulse, carefully and meticulously portray the facial features of different characters, and strive to express the characters' shapes and spirits, The language used in the artistic expression of the statue includes: color and lines are not independent and are still part of the traditional Chinese painting system. The composition of colors, the art of line drawing, and the law of dizziness are all the same as those of Chinese painting. It contains the heavy aesthetic psychological factors and aesthetic creation factors. The integration of lines and the coloring of monochromatic flat coloring make the color blocks in proportion to each other. The overall visual form of the plane. The combination of the statue group and the layout not only conforms to the instrument but also cleverly shows the formal beauty of the composition of Chinese painting: the heterogeneity is unified in the trend of symmetry and equilibrium, and the small and medium-sized is unified in the structure of scene segmentation. The static and dynamic dependence is unified in a specific Buddhist context, showing a clear transition from plane to three-dimensional. In addition, the statue is symbolized by finger meaning in the process of spreading Buddhist Dharma. This paper draws lessons from the artistic conception theory of "the boundary outside the image" and "the implication" in the traditional Chinese painting by using the artistic method of the metaphorical method. The narration and expression of the Buddhist concept are expressed as abstract, elegant and poetic Buddhist story plot. It has the same artistic characteristics as traditional Chinese painting in the creation of artistic conception, which fully embodies the intercommunication between plastic and painting. So that the statue presents a more typical Oriental aesthetic interest. The painting embodied in the statues of the two monasteries is a inheritance of the traditional sculptures and sculptures in our country. At the same time, to some extent, Dangchao painting style also showed the same popular style.
【學(xué)位授予單位】：太原理工大學(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：1680605