论唐代佛教造像的丰腴化

发布时间：2018-03-03 02:22

本文选题：唐代　切入点：佛教造像　出处：《景德镇陶瓷学院》2011年硕士论文　论文类型：学位论文

【摘要】：在中华民族五千年浩瀚的历史进程中,佛教作为一种外来文化,在传入中国后与中国的本土文化不断的冲突、碰撞、融合,从而导致了佛教发生了相应的变化。然而作为宣教辅教的佛教造像,随着佛教不断的深入中国,佛教不断被统治阶级和广大人民群众所推崇,佛教造像也由最初的印度犍陀罗风格慢慢变成了带有中国本土特色与文化内涵的造像。众所周知,历史上每一时期的艺术作品都体现了特定的民族在特定的历史时期和特定的社会形态下的艺术面貌和精神面貌,作为中国封建社会时期最为强大的唐王朝,在佛教造像方面也呈现了它独特的造像方式,而佛教造像的丰腴化是它最主要的特征。本文对唐代经济、文化、政治环境、审美取向等等进行了分析,着重探讨了唐代佛教造像丰腴化形成的原因及佛教造像丰腴化的具体体现。
[Abstract]:In the course of the Chinese nation's five thousand years of history, Buddhism, as an alien culture, has been in constant conflict, collision, and fusion with China's native culture since it was introduced into China. As a result, Buddhism has undergone corresponding changes. However, as Buddhism continues to go deep into China, Buddhism has been praised by the ruling class and the broad masses of the people. The Buddhist statues have gradually changed from the original Gandhara style of India to a statue with Chinese characteristics and cultural connotations. As we all know, The works of art in each period of history reflect the artistic and spiritual outlook of a particular nation in a specific historical period and a specific social formation. As the most powerful Tang Dynasty in the feudal society of China, In the aspect of Buddhist statues, it also presents its unique way of sculpture, and its main characteristic is the plump of Buddhist statues. This paper analyzes the economy, culture, political environment, aesthetic orientation and so on of Tang Dynasty. This paper mainly discusses the reasons of the formation of the Buddhism statue plump in Tang Dynasty and the concrete embodiment of the Buddhist statue plump.
【学位授予单位】：景德镇陶瓷学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K879.3

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