發(fā)布時(shí)間：2018-03-15 18:14

  本文選題：唐代　切入點(diǎn)：佛教　出處：《西北大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】： 佛教植物紋樣裝飾藝術(shù)是印度佛教在傳播過程中逐漸形成的一種重要文化現(xiàn)象,并在印度佛教進(jìn)入中國之后不斷發(fā)展演變,到唐代時(shí)達(dá)到鼎盛,成為佛教中國化的有機(jī)組成部分,從而既在佛教文化歷史上留下濃厚的一筆,也在中印文化交往進(jìn)程中占有不可忽視的地位,值得認(rèn)真研究。 本文通過歷史學(xué)、宗教學(xué)、考古學(xué)、藝術(shù)學(xué)等方法,對唐代佛教植物裝飾紋樣的轉(zhuǎn)型、特征及其歷史淵源與后世影響等問題進(jìn)行分析,試圖把握唐代佛教植物紋樣裝飾藝術(shù)的演變進(jìn)程、文化內(nèi)涵與歷史作用,為揭示佛教藝術(shù)與社會以及與哲學(xué)思想、宗教解脫、文明交往等諸多關(guān)系提供有益的借鑒。 本文第一章借助遺留在犍陀羅、馬土臘、阿馬拉瓦蒂各個(gè)不同地區(qū)的孔雀王朝、貴霜王朝、巽伽王朝、笈多王朝等各個(gè)時(shí)期佛教植物裝飾紋樣的典型遺物,探討了古代印度傳統(tǒng)的佛教植物裝飾紋樣,并分析了印度民族在裝飾領(lǐng)域的獨(dú)特審美傾向及其在佛教和印度教中的不同體現(xiàn)。這是唐代佛教植物紋樣裝飾藝術(shù)的異域淵源。 本文第二章通過對佛教傳入東土之前中國傳統(tǒng)的裝飾紋樣和佛教傳入后到唐代之前佛教植物裝飾紋樣的分別論述,特別是對南北朝時(shí)期忍冬紋和蓮花紋這兩種典型佛教植物裝飾紋樣的論述,說明唐以前中國佛教植物紋樣裝飾藝術(shù)的基本特性,并揭示當(dāng)時(shí)中外文明交往的一個(gè)基本特性,即印度的裝飾藝術(shù)作為父體的基因細(xì)胞,而深厚的中華文明則始終是孕育和塑造某種新生藝術(shù)的母體溫床,中印文明的這種交往格局決定了唐以前佛教植物紋樣裝飾藝術(shù)的基本歷史進(jìn)程與文化個(gè)性。 本文第三章分析集中探討唐代佛教植物裝飾紋樣的轉(zhuǎn)型及特征,首先對唐代佛教植物裝飾紋樣轉(zhuǎn)型的社會和文化背景進(jìn)行說明,其次對唐代佛教植物裝飾的典型紋樣即卷草紋和寶相紋的出現(xiàn)和應(yīng)用情況進(jìn)行研究,接著從總體上對唐代佛教植物裝飾紋樣的轉(zhuǎn)型,將其劃分為摹仿、組合、創(chuàng)新三個(gè)階段,最后再對唐代佛教植物裝飾紋樣的基本特征進(jìn)行把握,總結(jié)出題材的多樣性、造型的寫實(shí)性以及風(fēng)格的富麗飽滿和靈活多樣等特征。 本文的第四章分析唐代佛教植物紋樣裝飾藝術(shù)對中國植物紋樣裝飾藝術(shù)創(chuàng)作理論、創(chuàng)作技巧以及國人審美趨向等方面的影響。本文認(rèn)為,佛教傳入中國后一直到唐代,由于大量的外來藝術(shù)樣式的參與,極大地豐富了中國紋樣裝飾藝術(shù)的題材,使紋樣裝飾藝術(shù)的創(chuàng)作理論得到了發(fā)展,創(chuàng)作技巧也有了劃時(shí)代的進(jìn)步。由此形成的唐代佛教植物紋樣裝飾藝術(shù)對國人審美趨向也產(chǎn)生了深刻的影響。 本文的結(jié)語部分是在總結(jié)以上研究的基礎(chǔ)上提出關(guān)于藝術(shù)發(fā)展以及中印文化交往的一些基本認(rèn)識。本文認(rèn)為,流傳在不同文化圈中的任何藝術(shù)樣式,在相互交往過程中發(fā)生民族化和本土化是其必然的趨勢;任何藝術(shù)樣式的形成都有來自各個(gè)不同方面的復(fù)雜因素,除了外來文明的有力影響外,本土文明的基礎(chǔ)作用更不容忽視;再者,還有藝術(shù)按其自身發(fā)展規(guī)律而發(fā)生的嬗變。所有這些都體現(xiàn)了唐代佛教植物裝飾紋樣背后所蘊(yùn)涵的文化性、時(shí)代性、流變性以及文明交往中的對話與融合等多種重要特性。
[Abstract]:The decorative art of plant patterns in Buddhism is an important cultural phenomenon of Buddhism in India gradually formed in the process of communication, and in India Chinese Buddhism into the evolving, reaching its peak in the Tang Dynasty, to become the organic part of the Buddhist Chinese, which not only in the Buddhist culture history of a strong, have not an important position in the cultural exchanges between China and India in the process, is worthy of careful study.
In this paper, through the study of religion, history, archaeology, art and other methods, the transformation of the Tang Dynasty Buddhist decorative plant patterns, characteristics and historical origins and influence analysis, trying to grasp the evolution process of the Tang Dynasty Buddhist decorative patterns of plants, cultural connotation and historical role, in order to reveal the Buddhist art and society, and philosophy. Religious relief, provides a useful reference for many other civilization communication relationship.
The first chapter of this paper with the help of legacy in Gandhara, Ma La, Amaravati in various parts of the Mauryan sunga, Kushan Dynasty, Dynasty, typical artifacts and other periods of the Gupta Dynasty Buddhist decorative plant patterns, discusses the ancient India traditional Buddhist plant decorative patterns, and analyzes the India nationality in the field of decoration the unique aesthetic tendency and different embodiment in Buddhism and Hinduism. This is the origin of the Tang Dynasty Buddhist exotic decorative patterns of plants.
In the second chapter, through the introduction of Buddhism in China before China traditional decorative patterns and Buddhism to the Tang Dynasty before the Buddhist decorative plant patterns were discussed, especially on the northern and Southern Dynasties honeysuckle and lotus pattem of the two typical Buddhist decorative plant patterns discussed that the basic characteristics of Tang Dynasty China Buddhist decorative patterns of plants. One of the basic characteristics and reveals the Sino-foreign cultural exchanges, namely India decorative art as a parent cell gene, and profound Chinese civilization is always conceived and create a new art base temperature bed, the communication pattern between China and India civilization determines the basic history and cultural personality before the Tang Dynasty Buddhist decorative patterns of plants.
The third chapter focuses on the analysis of the transformation and characteristics of the Tang Dynasty Buddhist decorative plant patterns, the Tang Dynasty Buddhist decorative plant patterns in the transformation of social and cultural background is described, followed by the emergence of the typical patterns of the Tang Dynasty Buddhist decorative plant is the volume grass grain and grain with and should be studied with, then the transformation of the Tang Dynasty Buddhist decorative plant the patterns on the whole, it will be divided into imitation, combination, innovation in three stages, the basic characteristics of the Tang Dynasty Buddhist plant decorative patterns to grasp, summed up the theme of diversity, shape and style of writing is rich full and flexible features.
The fourth chapter analyzes the Tang Dynasty Buddhist decorative patterns of plants to plant patterns China decorative art creation theory, creation techniques and the trend of Chinese aesthetic and other aspects. This paper argues that the introduction of Buddhism after China until the Tang Dynasty, due to the large number of foreign art participation, has greatly enriched the Art Deco China pattern of theme, the decorative pattern art creation theory development, creative skills has epoch-making progress. The formation of the Tang Dynasty Buddhist decorative patterns of plants on the trend of Chinese aesthetic also had a profound impact.
The conclusion of this paper is based on the summarizing of above research put forward some basic knowledge about the development of art and cultural exchanges between China and India. This paper argues that any artistic style circulated in different cultures, in the interaction between nationalization and localization process is the inevitable trend; any artistic form is complex the factors from different aspects, in addition to alien civilizations, the basic role of local civilization can not be ignored; furthermore, there is the evolution of art according to their own law of development occurred. All these reflect the culture of the Tang Dynasty, behind the Buddhist decorative plant patterns contained in the times, the important characteristics of rheology and civilization exchanges such as dialogue and integration.

【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J509.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前8條

1 李曉倩;植物紋樣數(shù)字藝術(shù)設(shè)計(jì)在家具設(shè)計(jì)中應(yīng)用研究[D];東北林業(yè)大學(xué);2010年

2 宋元園;中國現(xiàn)代佛教建筑裝飾藝術(shù)的傳承與創(chuàng)新[D];山東建筑大學(xué);2012年

3 龍彩鳳;唐代典型植物紋樣在家具設(shè)計(jì)中的應(yīng)用研究[D];中南林業(yè)科技大學(xué);2012年

4 孟德鴻;宋代植物紋飾意蘊(yùn)研究[D];齊齊哈爾大學(xué);2012年

5 王峰;邵陽藍(lán)印花布的保護(hù)與轉(zhuǎn)型研究[D];湖南師范大學(xué);2013年

6 魯沫;茛苕葉飾漩渦紋樣在現(xiàn)代服裝設(shè)計(jì)中的應(yīng)用研究[D];浙江理工大學(xué);2013年

7 周東鳳;唐代卷草紋在高級時(shí)裝設(shè)計(jì)中的應(yīng)用研究[D];浙江理工大學(xué);2013年

8 李丹;陶藝石榴紋研究[D];景德鎮(zhèn)陶瓷學(xué)院;2013年

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本文編號：1616385