太蓬山摩崖石刻的宗教审美空间建构

发布时间：2018-04-12 21:21

本文选题：太蓬山摩崖石刻 + 审美构成　；参考：《西华师范大学》2016年硕士论文

【摘要】：太蓬山摩崖石刻位于川北南充市境内的营山县太蓬山,北邻川北门户巴中,主要是受唐朝崇佛风盛和北方石窟寺影响而开凿的中型宗教摩崖。集建筑、雕塑、诗文、书法艺术于一身,既受北方的石窟艺术所影响又呈现出巨大的差异,似与川北摩崖如出一辙实有着自己独特的个性与魅力。但对于太蓬山摩崖石刻的研究还十分有限,主要集中在考证方面,对其进一步研究显得尤为必要。笔者以文艺学的视角对太蓬山摩崖石刻的各类审美文化进行整体性研究,进一步挖掘其宗教审美空间的特点及建构方式。本文主要由三个部分构成。第一部分,绵延千年的宗教摩崖,介绍太蓬山摩崖石刻的形成及概貌。追溯石刻文化的源流与摩崖石刻的发展,深入分析太蓬山摩崖石刻出现的人文环境和生态环境,乃至于最终形成何种太蓬山摩崖石刻。第二部分,多元共生的审美构成。分别从选址布局、诗与文、造像、书法四个方面分析其审美构成要素的形式特征。这部分的研究跨学科较多,主要用到了文学批评、图像学、书法批评等方法。第三部分,双重超越的宗教审美空间。独特的选址布局、诗文、造像、书法营造了太蓬山摩崖石刻静穆澄怀、平澹冲和的信仰空间和人情隽永的抒情空间。这部分的研究方法主要是借助广义叙述学的理论对太蓬山摩崖石刻的审美构成要素进行重新组合,以建立一个更为整体化的面貌。从而分析其审美空间的建构,直指其背后宗教道场的功能意义。最后得出结论:太蓬山摩崖石刻通过其独特的审美形式:选址布局、诗文、造像、书法的相互交融、动静结合、虚实互补,建构了静穆澄怀、平澹冲和、人情隽永的多层次宗教审美空间。宗教信仰以其建构的宗教审美空间为纽带得以传播,从而进一步形成此地独特的礼佛之风。
[Abstract]:Taipengshan cliff stone carving is located in Yingshan County, Nanchong City, northern Sichuan Province, near the northern Sichuan gateway Bazhong, mainly by the Tang Dynasty Chongfo Fengsheng and the Northern Cave Temple and the influence of the medium-sized religious cliffs.The art of architecture, sculpture, poetry and calligraphy is influenced by the grotto art in the north and presents a great difference. It seems to have its own unique personality and charm just like the cliff in northern Sichuan.However, the study of Taipengshan cliff stone carving is very limited, mainly focused on textual research, it is particularly necessary to further study it.From the perspective of literature and art, the author makes a holistic study of all kinds of aesthetic culture of the cliff stone carvings in Taipengshan, and further excavates the characteristics and construction methods of its religious aesthetic space.This paper consists of three parts.The first part, a thousand years of religious cliffs, introduces the formation and outline of Taipengshan Cliff Stone carving.By tracing back to the origin of stone carving culture and the development of cliff stone carving, the humanistic and ecological environment of Taipengshan cliff stone carving is deeply analyzed, and even what kind of Taipengshan cliff stone carving is finally formed.The second part, the aesthetic composition of multiple symbiosis.The formal characteristics of its aesthetic elements are analyzed from four aspects: location layout, poem and text, portrait and calligraphy.This part of the interdisciplinary research, mainly used literary criticism, graphics, calligraphy criticism and other methods.The third part, double transcendental religious aesthetic space.Unique location layout, poetry, statues, calligraphy to create the Taipengshan Cliff stone carving quiet and clear, pangchong harmony of the belief space and meaningful lyric space.This part of the research method is mainly based on the theory of generalized narratology to re-combine the aesthetic elements of Taipengshan cliff stone carving in order to establish a more integrated face.Thus, it analyzes the construction of its aesthetic space and points directly to the functional significance of the religious Taoist center behind it.Finally, the conclusion is drawn: through its unique aesthetic form: location layout, poems, statues, calligraphy, the combination of static and dynamic, the virtual reality complement each other, the construction of a quiet, calm and pangzhong,Human feelings meaningful multi-level religious aesthetic space.Religious belief is spread by its construction of religious aesthetic space, thus further forming the unique style of Buddha worship here.
【学位授予单位】：西华师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：K877.4;J292.1

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