本文選題：印度教藝術(shù) + 佛教藝術(shù)��； 參考：《華東師范大學(xué)》2017年碩士論文

【摘要】：緬甸,東南亞的重要國家。在漫長的文化發(fā)展過程中,佛教文化逐漸成為其發(fā)展的內(nèi)核。緬甸的佛教造像藝術(shù)從一開始就受到了印度教造像藝術(shù)的影響。具體來說分為如下幾個階段。第一階段,是公元4至10世紀。這一階段是印度教影響緬甸佛教藝術(shù)的最初階段。佛教造像藝術(shù)集中分布在緬甸南部的室利差咀羅古城遺址附近,緬甸中部地區(qū)有零星發(fā)現(xiàn)。從造像樣種類來看,佛像成為這一時期最主要的佛教造像題材。早期的佛教造像題材較為單一,材料的使用上也并不多。這都成為了緬甸早期佛教造像藝術(shù)的重要特征。在造像的樣式上來看,早期佛教造像樣式較為簡潔,與印度薩爾納特樣式較為接近,裝飾不多。第二階段為公元10至13世紀。緬甸南部造像猶然存在,而以蒲甘為中心的曼德勒地區(qū)佛教造像成為這一階段最為重要的造像地區(qū),出現(xiàn)了大量佛教造像及建筑遺跡。這一時期的造像題材得到大量豐富,菩薩像增多,特別是本生故事和佛傳故事成為這一階段最為常見的造像題材。由于緬甸蒲甘城有大量佛教塔寺遺存,建筑壁畫成為這一時期十分突出的造像題材。具體造像方面,這一時期的佛教造像基本形成了"面短而圓"的形象定式。佛教造像的種類增多,造像的精美程度要比前一階段高很多。印度教造像開始全面地影響了佛教造像的具體內(nèi)容。第三階段為公元14至19世紀。這一時期的佛教造像在緬北地區(qū)有大量出現(xiàn),佛教造像由南部、中部、北部三方面共同組成。題材主要有單尊造像、本生故事等。造像在這一階段走向了繁縟裝飾化道路,造像的表面、結(jié)構(gòu)等都成為裝飾紋樣重要的表現(xiàn)"區(qū)域"。
[Abstract]:Burma is an important country in Southeast Asia. In the long process of cultural development, Buddhist culture has gradually become the core of its development. Myanmar's Buddhist statue art was influenced by Hindu statue art from the beginning. Specifically, it can be divided into the following stages. The first stage was from the 4 th to the 10 th century AD. This stage was the first stage in which Hinduism influenced Buddhist art in Myanmar. Buddhist statues are concentrated near the ruins of the ancient city of Sri Lanka in southern Myanmar, where sporadic discoveries have been made. In terms of the types of statues, the Buddha became the most important subject of Buddhist statues in this period. The subject matter of early Buddhist statues is relatively simple, and the use of materials is not much. This has become an important feature of the early Buddhist statue art in Myanmar. In the style of the statue, the early Buddhist statue style is more concise, close to the Indian Sarnet style, not much decoration. The second stage was from the 10 th to the 13 th century AD. The statues of southern Myanmar still exist, and the Buddhist statues in Mandalay region, centered in Bagan, have become the most important areas in this stage, and a large number of Buddhist statues and architectural relics have appeared. In this period, the themes of the statues were abundant, and the bodhisattva images were increased, especially the stories of this life and the stories of the Buddha were the most common subjects in this period. Due to a large number of Buddhist pagodas remains in Pagan, Myanmar, architectural murals have become a very prominent theme of this period. In the aspect of concrete statues, the Buddhist statues of this period basically formed the image formula of "short face and round". The variety of Buddhist statues has increased, and the beauty of the statues is much higher than in the previous stage. Hindu statues began to have an overall impact on the specific content of Buddhist statues. The third stage was from the 14 th to the 19 th century AD. The Buddhist statues of this period appeared in the northern part of Myanmar. The Buddhist statues were made up of three parts: the south, the middle and the north. The subject matter mainly has the single statue, this life story and so on. In this stage, the statue has gone to the road of elaborate decoration, the surface and structure of the statue have become the important expression of decorative pattern "region".
【學(xué)位授予單位】：華東師范大學(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：2070635