北齐晋阳佛教造像艺术特征研究

发布时间：2018-01-16 07:14

本文关键词：北齐晋阳佛教造像艺术特征研究　出处：《北京服装学院》2013年硕士论文　论文类型：学位论文

【摘要】：雕塑之所以是人类最古老的艺术形式之一，原因在于雕塑的直接性——直接表达人类的精神和情感。与二维平面绘画形式比较，雕塑是实在的、立体的、物化的，接近于现实的可触可感的世界，是人类最初认识世界，表达思想和情感的实体。世界是多维的，雕塑也可以看作是人类认知世界的手段。作为表达人类知觉和情感的宗教——佛教主张“以像传教”，通过雕塑更加形象的传达佛教的精神。佛教造像从印度到中国，从西域到中原，经历了几百年的时间，结合当地特色形成独特的艺术风貌。尤其在北魏孝文帝汉化政策的推动下，中国早期传统雕塑艺术的审美特征和风格样式发生了很大的变化，对原有的审美倾向、造型方式、表达技巧产生深远的影响。北魏之后的北齐正是中国佛教造像变化发展最为剧烈的阶段，规模和水平都达到了后人难以企及的高度，是佛教造像发展史中重要的转折时期。论文据此展开整理和分析，首先阐述了北齐晋阳的地理、历史、社会背景问题——北齐时期的晋阳城是统治者高欢、高洋父子政治、军事核心，出于统治者自身和国家的考虑，佛教迅速发展，并受到晋阳整体社会上下的崇拜。这样的时代因素成为北齐晋阳佛教造像艺术长足发展的历史依托。接着，在具体的造像艺术特征方面，晋阳佛教造像规模较大，，种类丰富，有洞窟群、有摩崖造像、有单体造像、也有佛龛组合。整体形态疏朗润洁、淡雅端庄、彰显着内在的活力，透出一种宁静、自然、含蓄，既有一种近在咫尺的亲切感，也有一种远在千里的超然之气，淋漓尽致的展现了晋阳佛教造像独特的人性美。随后分析了这种艺术特征的成因，不仅受到印度佛教造像风格和中国传统文化的共同影响，还有南北朝文化的共同作用。论述总结北齐晋阳传统佛教造像背后彰显出的中国文化精神和特质，得出一些对当代雕塑艺术的思考，为意识形态剧烈变化下的当代雕塑做出一些历史的总结资料，希望有借鉴作用。
[Abstract]:Sculpture is one of the oldest art forms, the direct reason is that sculpture direct expression of the human spirit and emotions. Compared with the planar form of painting, sculpture is real, three-dimensional, materialized, close to the reality of the world can be a sense of touch, is the first human understanding of the world, to express thoughts and the emotional entity. The world is multidimensional, sculpture can be seen as a means of understanding the world of mankind. As an expression of human perception and emotional religions - Buddhism advocated "as missionary", the sculpture image conveys more the spirit of Buddhism. Buddhist statues from India to Chinese, from the Western Regions to the Central Plains, has experienced hundreds of years the time, formed a unique artistic style with local characteristics. Especially in the Northern Wei Emperor Xiaowen Chinese policy, Chinese early traditional sculpture art aesthetic characteristics and style has had the very big The change has a profound influence on the original aesthetic tendency, the modeling method and the expression skill.
After the Northern Wei Qi is the most intense stage for the development of Buddhist China changes have reached, the scale and level of future generations is difficult to match the height, is the important transitional period in the history of the development of Buddhism Statues.
Accordingly the collation and analysis, first elaborated the Northern Qi Dynasty Jinyang geography, history, social background, during the Northern Qi Dynasty city of Jinyang is ruler of Gao Huan, Gao Yang and his son out of political, military and core, the rulers of their own countries, the rapid development of Buddhism, and by the whole society on the worship of Jinyang. The era of such factors become a Buddhist statues art development history based on Jinyang. Then, in terms of the specific characteristics of statues, Jinyang Buddhist statues in large scale, variety, a cave group, a cliff sculptures have single statues, also have Fokan combination. The overall shape of Shulang moiclear, elegant and dignified, reveals the inherent vitality with a quiet, natural, subtle, both have a close at hand of intimacy, there is also a far away transcendent gas, most incisive display of Jin Yang Buddhist statues unique beauty of humanity Then analyzes the causes of the art features, not only affected by the style of India Buddhist statues and China of traditional culture, and the northern and Southern Dynasties culture together. China behind summary Jinyang Buddhist statues reflect Qi traditional cultural spirit and characteristics, draw some of the contemporary sculpture art thinking, make a summary of some historical data for the dramatic changes in the ideology of contemporary sculpture, hope to have reference.

【学位授予单位】：北京服装学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：K879.3

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