本文選題：引路菩薩圖　切入點(diǎn)：阿彌陀佛來迎圖　出處：《陜西師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：敦煌《引路菩薩圖》是藏于英國(guó)不列顛博物館的佛教絹本設(shè)色卷軸畫,《阿彌陀佛來迎圖》是黑水城出土的西夏卷軸畫,收藏在俄羅斯圣彼得堡艾爾米塔什博物館。畫中的菩薩和阿彌陀佛描繪的精美絕倫,令人驚嘆,體現(xiàn)了古代佛教的繁榮昌盛和佛教文化的博大精深。 本文以敦煌《引路菩薩圖》和黑水城《阿彌陀佛來迎圖》為研究對(duì)象,對(duì)其藝術(shù)特征和背景文化進(jìn)行歸納和總結(jié)分析,并得出結(jié)論。文章首先從佛教人物畫的肇始和發(fā)展談起,分析了各個(gè)時(shí)期佛教人物畫的特點(diǎn)和人物造型民族化、世俗化的發(fā)展過程,然后結(jié)合兩幅畫的時(shí)代背景分析了兩幅畫中佛像服飾的變化,得出敦煌《引路菩薩圖》中的菩薩為文殊菩薩。最后本文分別從構(gòu)圖、敷彩及人物造型三個(gè)方面對(duì)比分析了兩幅畫的藝術(shù)特征。 本文通過對(duì)比研究敦煌《引路菩薩圖》和黑水城《阿彌陀佛來迎圖》,進(jìn)而深入了解佛教的發(fā)展變化,以及不同時(shí)代佛教藝術(shù)的魅力和它蘊(yùn)含的文化意義。兩幅作品誕生的時(shí)期不同,畫面氣氛也不相同,但在佛教人物的形象刻畫和畫面構(gòu)成上有很多相似點(diǎn)。可以斷定西夏時(shí)期佛教繪畫吸收了宋代時(shí)期特別是北宋時(shí)期的佛教繪畫風(fēng)格,西夏時(shí)期的佛教繪畫雖然具有自己獨(dú)特的藝術(shù)特征但仍然留存有唐宋時(shí)期的繪畫技法和特點(diǎn)。
[Abstract]:Dunhuang "guiding Bodhisattva" is a painted scroll of Buddhist silk books hidden in the British Museum. "Amitabha Buddha" is a Xixia scroll painting unearthed in Blackwater City. The paintings of Bodhisattva and Amitabha in the Elmitas Museum in St. Petersburg, Russia, are stunning and stunning, reflecting the prosperity of ancient Buddhism and the breadth and sophistication of the Buddhist culture. Based on Dunhuang Bodhisattva and Blackwater City and Amitabha Buddha as research objects, this paper summarizes and analyzes its artistic characteristics and background culture. And draw a conclusion. The article begins with the origin and development of Buddhist figure painting, and analyzes the characteristics of Buddhist figure painting in various periods and the development process of nationalization and secularization of figures. Then combined with the background of the two paintings, this paper analyzes the changes of the dress of the Buddha in the two paintings, and concludes that the Bodhisattva in Dunhuang "guiding Bodhisattva" is Manjusri Bodhisattva. The artistic features of the two paintings are compared and analyzed in three aspects: the application of color and the modeling of characters. Through comparative study of Dunhuang "Bodhisattva" and Blackwater City "Amitabha Buddha", this paper tries to understand the development and change of Buddhism. As well as the charm of Buddhist art in different times and the cultural significance it implies. The two works were born in different periods and the atmosphere of the pictures was different. However, there are many similarities in the image portrayal and picture composition of Buddhist figures. It can be concluded that Buddhist painting in the Western Xia period absorbed the Buddhist painting style of the Song Dynasty, especially the Northern Song Dynasty. Although Buddhism painting in Xixia period has its own unique artistic characteristics, it still retains the painting techniques and characteristics of Tang and Song dynasties.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J219

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本文編號(hào)：1561051