梁庄王墓“大黑天舞姿像”形式分析
发布时间：2018-12-17 15:21
【摘要】：梁庄王墓中所出土的随葬器物,除了数量庞大的各类金银珠玉饰品之外,还出土有900余件佛教文物。这批佛教文物种类繁多,包括佛像、法器两大类,其制作材料涵盖有金、银、骨、玉、宝,制作工艺精美。其中,“大黑天舞姿像”因其贵重的制作材料、精美的制作工艺和独特的造型形态显得十分突出,是这批佛教器物中的经典之作。本文基于法国美术史家福西永的形式分析理论,将目光聚焦于梁庄王墓大黑天舞姿像,对该造像展开较为全面的形式分析。总结梁庄王墓大黑天舞姿像的使用材料及制作工艺,分析出材料与技术对其形式的影响。进而,结合人的视觉审美一般规律,归纳出其外在整体形式的美学特征。最后将综合我国现存主要大黑天神像遗存及相关文献记载,尝试归纳出7-14世纪期间大黑天神像的形式变化脉络。
[Abstract]:In addition to a large number of gold, silver and pearl jade ornaments, more than 900 Buddhist relics were unearthed in the tomb of Liang Zhuang. This batch of Buddhist relics includes two categories: Buddha statue and French ware. Its materials include gold, silver, bone, jade, treasure and exquisite craftsmanship. Among them, the Dancing figure of the Big Black Sky is a classic among these Buddhist objects because of its valuable materials, exquisite craftwork and unique shape. Based on the formal analysis theory of French art historian Fushi Yong, this paper focuses on the image of the big black sky in the tomb of the king of Liang Zhuang, and carries out a more comprehensive formal analysis of the statue. This paper summarizes the material and making technology of the big black sky dance figure in the tomb of Liang Zhuang, and analyzes the influence of material and technology on its form. Then, combined with the general law of human visual aesthetics, the aesthetic characteristics of its external overall form are summed up. Finally, by synthesizing the remains of the main black gods and related documents in China, this paper tries to sum up the changes in the form of the great black gods during the 7-14 th century.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：K879.3
本文编号：2384382
[Abstract]:In addition to a large number of gold, silver and pearl jade ornaments, more than 900 Buddhist relics were unearthed in the tomb of Liang Zhuang. This batch of Buddhist relics includes two categories: Buddha statue and French ware. Its materials include gold, silver, bone, jade, treasure and exquisite craftsmanship. Among them, the Dancing figure of the Big Black Sky is a classic among these Buddhist objects because of its valuable materials, exquisite craftwork and unique shape. Based on the formal analysis theory of French art historian Fushi Yong, this paper focuses on the image of the big black sky in the tomb of the king of Liang Zhuang, and carries out a more comprehensive formal analysis of the statue. This paper summarizes the material and making technology of the big black sky dance figure in the tomb of Liang Zhuang, and analyzes the influence of material and technology on its form. Then, combined with the general law of human visual aesthetics, the aesthetic characteristics of its external overall form are summed up. Finally, by synthesizing the remains of the main black gods and related documents in China, this paper tries to sum up the changes in the form of the great black gods during the 7-14 th century.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：K879.3
【参考文献】
相关期刊论文 前1条
1 白林坡;;形式之维——沃尔夫林与福西永美术史研究的形式主义理论比较[J];荣宝斋;2013年04期
，本文编号：2384382
本文链接：https://www.wllwen.com/shekelunwen/kgx/2384382.html
