本文選題：莫高窟第254窟 + 降魔變��； 參考：《中國(guó)美術(shù)學(xué)院》2014年碩士論文

【摘要】：降魔成道是釋迦牟尼一生中重要的事件，敦煌莫高窟第254窟南壁“降魔變”一圖是莫高窟同類題材中藝術(shù)性、表現(xiàn)性最突出的作品。在追溯254窟降魔變的根源時(shí)，發(fā)現(xiàn)其藍(lán)本可能來(lái)自印度，但在細(xì)節(jié)上又進(jìn)一步民族化，尤其是“魔怪”的造型與眾不同。莊嚴(yán)、肅靜的佛祖兩側(cè)，魔軍以獸首人身的組合樣式出現(xiàn)，面部生動(dòng)、夸張，體態(tài)壯實(shí)，動(dòng)感十足，手拿各種利器，擾亂佛祖成佛，畫面呈現(xiàn)出騷動(dòng)、緊張的氣氛，魔怪的“動(dòng)”與釋迦牟尼的“靜”形成了鮮明的對(duì)比，這樣的藝術(shù)效果是其他洞窟降魔變壁畫所無(wú)法比擬的。 本文將從“魔怪”造型這點(diǎn)出發(fā)，就其文化淵源以及審美特征兩大方面去論述254窟降魔變中“魔怪”造型的不同之處。文化淵源方面，，在將外來(lái)文化對(duì)其造成的影響作了簡(jiǎn)單的概括論述后，主要從漢文化（畫像石、畫像磚、石刻線畫中的神怪、瓦當(dāng)獸面紋、鎮(zhèn)墓獸石、墓室文化中的神怪）與其之間的淵源關(guān)系作了詳盡的論證，進(jìn)而從線、賦色、傳神三方面去體現(xiàn)“魔怪”獨(dú)特的、民族性的審美特征。并在此基礎(chǔ)上，論證“魔怪”造型對(duì)后朝一些特定藝術(shù)形象塑造的影響，以此來(lái)體現(xiàn)“魔怪”造型的深入人心并為后人所運(yùn)用的意義。
[Abstract]:Falling demons is an important event in Sakyamuni's life. The south wall of Cave 254 in Dunhuang is the most artistic and expressive work in the same subject matter of Mogao Grottoes.Looking back at the root causes of the demonic changes in Cave 254, it was found that the original version may have come from India, but it was further nationalized in detail, especially the unique look of the Monster.On both sides of the solemn and quiet Buddha, the evil army appeared in the form of a combination of animal heads and bodies, with vivid faces, exaggerations, strong posture, full movement, and a variety of sharp weapons in hand to disturb Buddha's formation into Buddha. The picture presented a commotion and tense atmosphere.In contrast to Sakyamuni's Silence, the artistic effect of the monster is incomparable to the murals of other grottoes.From the point of "monster" modeling, this paper will discuss the differences of "monster" modeling in cave 254 in terms of its cultural origin and aesthetic characteristics.In terms of cultural origin, after a brief summary of the influence of foreign culture on it, mainly from the Han culture (stone, brick, stone engraved lines in the genie, Wadang animal grain, town tombstone,The relationship between genie and its origin is demonstrated in detail, and then the unique and national aesthetic characteristics of "monster" are embodied from three aspects: line, color and spirit.On this basis, this paper demonstrates the influence of "monster" modeling on some specific artistic images of the later dynasty, so as to reflect the significance of the "monster" modeling which is deeply rooted in the hearts of the people and used by later generations.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J218.6

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 揚(yáng)之水;;桑奇大塔浮雕中的藥叉[J];藝術(shù)設(shè)計(jì)研究;2012年03期

本文編號(hào)：1765071