青州北朝背屏式佛教造像中飞天伎乐研究

发布时间：2018-06-03 05:41

本文选题：青州 + 北朝　；参考：《陕西师范大学》2011年硕士论文

【摘要】：青州是魏晋南北朝时期北方佛教活动的重要地带,至今依然保留着北魏中晚期到北齐阶段的诸多造像、刻经、寺院等佛教遗迹。这些石刻造像融汇中外,兼采南北,地域特征鲜明。近年来对于青州北朝造像的研究也已经进入到一个深入的阶段,目前的研究主要集中于佛像、菩萨像的风格渊源问题,对于某些具体的造像形式也有人初步涉入,但对其中独具特色的飞天伎乐图像,学术界并未对其给予足够的重视,常常是将其附在佛、菩萨像的综合研究中讨论,对图像系统的类型分析和年代研究也比较欠缺,飞天的乐器种类和乐舞性质仍不甚清楚。本文的研究将建立在解决以上问题的基础上,拟将飞天伎乐图像当作一个切入点,通过与同时期其他地区图像的比较,找出异同并溯清源流,以期对青州地区北朝石刻造像的整体面貌有更为深入的认识,进而对南北朝时期青州与周围地区佛教美术的交流状况进行更为深入的了解。文章共分为六个部分,其中三、四部分是本文的重点内容。第一部分：绪论。简单的综述了本文的研究意义、国内外研究现状、本课题采用的研究方法以及本论文的创新点和存在的不足之处等。第二部分：青州北朝背屏式石造像概况。首先介绍了青州北朝佛教造像产生的历史背景,然后对青州的地域范围做了界定,接下来对现有的飞天伎乐图像进行了收集与整理,为下文的具体论述做了铺垫。第三部分：青州北朝背屏式石造像中飞天伎乐艺术风格分析。首先对飞天伎乐图像做了简单的分类,分析了其服饰与造型特征；并在上文的基础上讨论其分期与时代特征,以有明确纪年的造像为标尺,考察其类型式演变,将北朝飞天伎乐图像分为三个阶段,继而分析不同阶段的造像风气与时代特征；接下来借鉴音乐考古学和音乐图像学的方法,考证了乐器的品种与形制,对其乐舞性质作出定性。其次,对飞天伎乐的表现手法进行了总结。分析了青州北朝石造像中飞天伎乐图像雕刻技法的多样性以及佛教造像中颇为罕见的贴金、彩绘装饰手法；最后,从美学范畴的角度谈论了其艺术审美特征。第四部分：青州北朝背屏式石造像飞天伎乐图像的艺术渊源。本章主要分析了飞天伎乐图像特征、风格的渊源去向。青州地区的自然区域及丰富的石质资源是其地域性风格产生的基础。以成都万佛寺等造像为代表的南朝造像是其样式特征的主要来源,兼而受河北个体石造像、中原石窟造像的影响。青州地区丰厚的文化底蕴也是其区域性特点形成的因素之一。第五部分：青州造像中飞天伎乐的延续与流变。本章通过对隋唐、宋时期伎乐的存在情况及形势演变,确定青州北朝伎乐图像的延续与流变问题。第六部分：结语。在本节对青州造像衰落的原因作了简单的说明,最后点明了本文得出的主要结论。全文旨在运用类型学的研究方法,系统的研究青州北朝飞天伎乐图像的变化轨迹,讨论其风格来源流变,并结合当时当地佛教传播特征、社会历史背景和地域文化特点,寻找造像背后的诸多信息。并通过考察唐、宋伎乐图像的情况,进而确定青州北朝伎乐图像的流变问题。
[Abstract]:Qingzhou is an important area of Buddhist activities in the northern and Southern Dynasties in the Wei, Jin, northern and Southern Dynasties. So far, many of the Buddhist relics, such as the northern and late Northern Wei Dynasty to the Northern Qi stage, are still preserved. These stone sculptures blend in and out of China and the south, with distinctive regional characteristics. In recent years, the study of the Northern Dynasty statue of Qingzhou has also entered into an in-depth study. At the stage, the current research focuses on the Buddhist statues, the origin of the Bodhisattva and the initial involvement of some specific forms of statue, but the academic circles do not pay enough attention to the unique image of the flying Kabuki music, which is often discussed in the comprehensive study of the Buddha and Bodhisattva, and the class of the image system. The type of musical instruments and the nature of music and dance are still not very clear. The study of this paper will be based on solving the above problems as a breakthrough point. By comparing with the images of other regions in the same period, we will find out the similarities and differences and trace the source flow, in order to make the Northern Dynasties in Qingzhou area. The overall picture of the stone carving has a deeper understanding, and further understanding of the communication between Qingzhou and the surrounding areas of Buddhist art in the northern and Southern Dynasties.
The article is divided into six parts, of which three and four are the main contents of this article.
The first part is introduction, which briefly summarizes the significance of the research, the current research status at home and abroad, the research methods adopted in this subject, the innovation point and the shortcomings of this paper.
The second part: the general situation of the back screen stone statue of the Northern Dynasty in Qingzhou. First, it introduces the historical background of the Buddhist statue of the Northern Dynasties in Qingzhou, then defines the regional scope of Qingzhou, and then collects and collects the existing images of the flying Kabuki music, and pave the way for the specific discussion below.
The third part: analysis of the artistic style of the flying Kabuki in the back screen stone statue of the North Dynasty in Qingzhou. First, it makes a simple classification of the images of the Feitian Kabuki, analyzes its costume and modeling features, and discusses its stages and characteristics on the basis of the above, with a clear chronological image as a scale, the evolution of its type and the North Dynasty flying Kabuki. The music image is divided into three stages, then analysis of the different stages of the style and characteristics of the times. Next, using the methods of musical Archaeology and music iconography, the varieties and forms of musical instruments are examined and the nature of their music and dance is qualitatively analyzed. Secondly, the expression techniques of the flying music are summarized. The flight of the stone statue in the Northern Dynasty of Qingzhou is analyzed. The diversity of the image carving techniques of Tian Ji music and the rare gold in the Buddhist statues and the decorative techniques of color painting; finally, the aesthetic features of the art are discussed from the angle of the aesthetic category.
The fourth part: the artistic origin of the image of the back screen stone building in the North Dynasty of Qingzhou. This chapter mainly analyzes the features of the flying Kabuki image and the origin of the style. The natural region of Qingzhou and the rich stone resources are the basis of its regional style. The Southern Dynasty statue represented by the statue of Chengdu Wanfo temple is its style. The main source of the characteristics is also influenced by the stone statue in Hebei and the influence of the statue of the Central Plains grottoes. The rich cultural background of Qingzhou is also one of the factors of its regional characteristics.
The fifth part: the continuation and evolution of the flying Kabuki in the Qingzhou statues. This chapter, through the existence and evolution of the Sui and Tang Dynasties and the Song period, determines the continuity and evolution of the Northern Dynasty's Kabuki image.
The sixth part: epilogue. In this section, the reasons for the decline of Qingzhou statues are briefly explained, and finally the main conclusions of this article are pointed out.
The full text aims to use the research method of typology to systematically study the change track of the image of the northern Chao Tian Yue in Qingzhou, discuss the origin of its style, and find out the information behind the images of the local Buddhism, the social and historical background and the regional and cultural characteristics, and examine the picture of the Tang and song Kabuki. The rheology of the image of Kabuki music in the Northern Dynasty of Qingzhou.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K879.3

【引证文献】