本文選題：青州 + 龍興寺��； 參考：《山東藝術(shù)學(xué)院》2017年碩士論文

【摘要】：在魏晉南北朝時期,青州成為佛事活動繁盛的區(qū)域,從已經(jīng)出土的大量佛教造像等各種佛教文物來看,時間跨度大致從北魏中后期到北齊時代。并且,作者在實地考查和文獻(xiàn)調(diào)查時發(fā)現(xiàn),當(dāng)時的石質(zhì)雕刻佛教造像造型中,即融合了中土與西域的風(fēng)格,同時也兼容了中原各地的造像特點,儼然已經(jīng)具有獨(dú)特的區(qū)域特征。1996年,在青州龍興寺發(fā)掘出的眾多佛教窖藏造像中,造像上的貼金裝飾與彩繪裝飾基本保存良好,窖藏造像的背屏部分裝飾元素頗為豐富,有飛天、龍、蓮花、火焰紋、佛塔等多種元素組合而成,為學(xué)術(shù)界的研究提供了重要的文物考查資料。因此本文的研究以青州龍興寺佛教窖藏造像的背屏為研究對象,以其豐富多變的裝飾種類和造型風(fēng)格為研究內(nèi)容,在大量查閱資料的基礎(chǔ)上,研究分析佛教造像的背屏裝飾種類、類型,以及特征。龍興寺佛教造像具備多元化的風(fēng)格,特別是在東魏時代與北齊時代產(chǎn)生的造像。到了北齊時代,龍興寺造像已經(jīng)出現(xiàn)顯著的“青州風(fēng)格”,此種現(xiàn)象的產(chǎn)生有著諸多要素的共同作用。若以佛教傳播為視角進(jìn)行分析,南北朝時期是佛教文化興盛階段,青州佛教造像具備很高的藝術(shù)性是有著歷史時代的因素�；诜鸾袒顒拥膹V泛開展,讓青州龍興寺佛教造像在集成南朝造像的特征時,同時也與西域文明相融合。在上述因素共同作用的基礎(chǔ)上,創(chuàng)作者結(jié)合當(dāng)?shù)氐膶徝浪季S,社會需要,不斷產(chǎn)生青州造像風(fēng)格。最近這些年來,隨著研究的不斷深入拓展,當(dāng)前主要的分析課題集中在考察造像主尊與菩薩像造型的出處,針對實際佛像的造像風(fēng)格展開分析。不過在此環(huán)節(jié)中,學(xué)者們忽視了對背屏裝飾的分析,將其作為次要的研究對象,常常在分析中一筆帶過,鑒于缺乏年代分析,以及尚未建立數(shù)字圖像處理體系。所以,該領(lǐng)域的研究常處于起步階段。本文在研究中擬定解決上述的問題,然后深入探討青州龍興寺佛教造像的背屏裝飾藝術(shù),采用對比的方式進(jìn)行研究,考量同一時代背屏中不同元素的造型特點,發(fā)掘共性規(guī)律,探尋差異化現(xiàn)象,如針對飛天造像元素的不同造型進(jìn)行梳理等。此種分析模式會對本文研究帶來必要的理論支撐,從佛教與藝術(shù)等層面進(jìn)行多元化的分析。青州龍興寺出土的造像數(shù)量龐大、類型多樣、技法精湛、裝飾漂亮,不僅具備史學(xué)研究價值,同時也是藝術(shù)瑰寶。這些經(jīng)過了歷史掩埋的珍貴資料,現(xiàn)在重見天日的窖藏石佛像,為我國的美術(shù)發(fā)展史和史學(xué)均提供詳盡的實物資料。本文不僅需要研究其背屏裝飾元素的形式,也同時嘗試探討青州龍興寺佛教窖藏造像的產(chǎn)生、作品具備的風(fēng)格與特征、裝飾效果與手段,以及對比分析青州佛教造像與周圍區(qū)域的特征。運(yùn)用多種整理和分析的方法,對青州龍興寺出土的窖藏石佛造像的背屏裝飾藝術(shù)進(jìn)行綜合性的分析,包括圖像學(xué)分析模式、比較學(xué)分析模式、類型學(xué)分析模式,以及文獻(xiàn)資料分析模式等,結(jié)合青州龍興寺佛教窖藏造像風(fēng)格的變化、佛教文化發(fā)展的情況、時代背景,以及區(qū)域文化特征等,從細(xì)節(jié)處找尋造像的具體信息。分析龍興寺佛教窖藏造像背屏裝飾的風(fēng)格,以及其對現(xiàn)代設(shè)計產(chǎn)生的影響,最終了解青州佛教造像背屏裝飾藝術(shù)的內(nèi)涵。
[Abstract]:In the period of the Wei, Jin and Northern and Southern Dynasties, Qingzhou became a flourishing area of Buddhist activities. From a large number of Buddhist relics, such as Buddhist statues, which had been unearthed, the time span was roughly from the late middle and late Northern Wei to the Northern Qi era. And the author found in the field examination and literature investigation that the stone sculptures in the stone sculptures were fused with the middle soil and the middle soil. The style of the western region, at the same time also compatible with the features of the Central Plains, has unique regional characteristics,.1996 years, in Qingzhou Longxing Temple excavated in a number of Buddhist pit images, the statue of gold decoration and painted decoration is basically well preserved, the cellar image of the back screen part of the decorative elements are quite rich, flying, dragon, lotus, The combination of many elements such as flame and pagoda provides important cultural relics for academic research. Therefore, this study takes the back screen of the Buddhist pit of Longxing Temple in Qingzhou as the research object, with its rich and changeable decorative types and styling styles as the research content, and on the basis of a large number of reference materials, the study and analysis of Buddhism The types, types, and characteristics of the back screen decoration of the religious statue. The Buddhist statue of Longxing Temple has a diversified style, especially in the Eastern Wei Dynasty and the Northern Qi era. In the period of the Northern Qi Dynasty, the statue of Longxing Temple has appeared in a remarkable "Qingzhou style", and the production of this phenomenon has the common effect of many factors. From the angle of view, the period of the northern and Southern Dynasties is the flourishing stage of the Buddhist culture. The high artistic nature of the Buddhist statues in Qingzhou is a factor in the historical era. Based on the extensive development of the Buddhist activities, the Buddhist statue of the Longxing Temple in Qingzhou has been integrated with the Western civilization. On the basis of this, the authors combine with the local aesthetic thinking and social needs to produce the Qingzhou image style. In recent years, with the continuous development of the research, the main analysis topics are focused on the appearance of the statue of the main statue of the Buddha and the statue of the Bodhisattva, and the analysis of the style of the statue of the Buddha. Scholars have ignored the analysis of back screen decoration as a secondary research object, often in the analysis, in view of the lack of time analysis and the establishment of digital image processing system. Therefore, the research in this field is often in its infancy. This paper is to solve the above problems in this study, and then discuss Qingzhou Longxing in depth. The decorative art of the back screen of the Temple Buddhist statues is studied in a comparative way to examine the characteristics of the different elements in the back screen of the same time, to explore the common laws and to explore the phenomenon of differentiation, such as combing the different shapes of the elements of the flying sky, and so on. This model will bring the necessary theoretical support to this study, from Buddhism. Qingzhou Longxing Temple, which has a huge number, diverse types, exquisite workmanship and beautiful decoration, not only has the value of historical research, but also a treasure of art. This article not only needs to study the form of the decorative elements of its back screen, but also tries to explore the production of the Buddhist pit statues in Qingzhou Longxing Temple, the style and characteristics of the works, the effect and means of decoration, as well as the characteristics of the Buddhist statues and circumference areas in Qingzhou. This paper makes a comprehensive analysis of the decorative arts of the back screen decoration of the cellar Buddha statue unearthed in Qingzhou Longxing Temple, including the pattern of image analysis, the model of comparative analysis, the model of typology, and the model of the analysis of the literature and data. It combines the changes in the wind grid of the Buddhist cellar in Longxing Temple in Qingzhou, the development of Buddhism culture and the background of the times. As well as regional cultural features, find out the specific information of the statue from the detail, analyze the style of the back screen decoration of the Buddhist pit and its influence on the modern design, and finally understand the connotation of the decorative art of the back screen of the Buddhist statue in Qingzhou.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J315

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