【摘要】：巴蜀地區(qū)在我國宗教藝術(shù)史發(fā)展脈絡(luò)上是具有不可替代性的重要區(qū)域;其摩崖石刻造像居全國各地石窟數(shù)量之冠。其中大足石刻當屬巴蜀石刻藝術(shù)的領(lǐng)軍代表;不僅體現(xiàn)北方石窟藝術(shù)風格的南漸,而且在遵循佛教造像儀軌的基礎(chǔ)上,融合巴蜀獨特的地域性因素形成特異性的石刻藝術(shù)風格。北山石刻藝術(shù)是構(gòu)成大足石刻整體藝術(shù)場域中的重要部分,集中了五代、晚唐、兩宋的石刻藝術(shù)作品;建筑圖像作為宗教石窟藝術(shù)裝飾圖式中不可或缺的組成部分,但至今學界對其的系統(tǒng)研究仍處于初級階段。本文主要研究對像是大足北山佛灣石刻藝術(shù)中的建筑圖像,通過實地田野調(diào)查、測繪進行資料收集與分類梳理,總結(jié)巴蜀石刻藝術(shù)中建筑圖像的特異性形式、風格。第一章:主要是針對大足北山石刻藝術(shù)的國內(nèi)外研究綜述。第二章:從自然地理屬性、政治經(jīng)濟環(huán)境、歷史人文淵和宗教文化底蘊四個視角深入分析大足北山石刻藝術(shù)中的建筑圖像的源起及影響。探討其與文獻記載的關(guān)聯(lián)性,總結(jié)其源起自身發(fā)展的特點。第三章:首先從時空維度對大足北山石刻藝術(shù)中的建筑圖像進行歸納整理;其次按宗教建筑圖像的不同功能性對大足北山石刻藝術(shù)中的建筑圖像進行類型學分類歸納;最后從造型特點與經(jīng)營位置兩個主要方面對建筑圖像的形式與風格特征進行總結(jié)。第四章:探究大足北山建筑圖像中存在的圖式(穩(wěn)定的圖像模式)。因此在基于建筑圖像源起的背景下,以大足北山石刻藝術(shù)中建筑圖像為研究對象,找到一條有效的路徑去挖掘其蘊含的傳統(tǒng)宗教精神內(nèi)涵與藝術(shù)形式、風格的審美意蘊。
[Abstract]:The Bashu region is an irreplaceable important region in the development of the history of religious art in China, and its cliff stone carvings rank the highest in the number of grottoes all over the country. Among them, Dazu stone carving is the leading representative of Bashu stone carving art, which not only reflects the southward development of northern grotto art style, but also integrates the unique regional factors of Bashu to form a specific stone carving art style on the basis of following the Buddhist idolatry ritual. Beishan stone carving art is an important part of the whole art field of Dazu stone carvings, which includes five dynasties, late Tang and two Song dynasties. Architectural image is an indispensable part of religious grottoes decorative schemata, but the systematic research on it is still in its primary stage. This paper mainly studies the architectural images in the stone carving art of the Buddha Bay in Dazu North Mountain. Through field investigation, surveying and mapping to collect and sort out the data, and summarize the specific form and style of the architectural images in the Bashu stone carving art. The first chapter: mainly aimed at Dazu North Mountain stone carving art at home and abroad research summary. The second chapter analyzes the origin and influence of the architectural images in the stone carving art of Dazu Beishan from the following four perspectives: natural geographical attribute, political and economic environment, history, humanities and religious culture. The relationship between it and the literature is discussed, and the characteristics of its own development are summarized. Chapter three: firstly, the architectural images of Dazu Beishan stone carving art are summarized and sorted from the dimension of time and space; secondly, the architectural images of Dazu Beishan stone carving art are classified and summarized according to the different functions of religious architectural images. Finally, the form and style features of architectural images are summarized from the aspects of modeling characteristics and management position. Chapter four: explore the schemata (stable image pattern) in the architecture image of Dazu North Mountain. Therefore, based on the background of the origin of the architectural images, taking the architectural images in the stone carving art of Dazu Beishan as the research object, we find an effective way to excavate the connotation of the traditional religious spirit, the artistic form and the aesthetic meaning of the style.
【學位授予單位】：四川美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J313.2

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