响堂山北齐石窟装饰艺术研究

发布时间：2018-01-15 06:01

本文关键词：响堂山北齐石窟装饰艺术研究　出处：《河北师范大学》2009年硕士论文　论文类型：学位论文

【摘要】： 响堂山石窟最早开凿于北齐文宣帝高洋时期(公元550—577年),现存主要石窟造像均为北齐时雕造。本文主要是针对响堂山北齐的石窟装饰艺术进行研究。南北朝时期是我国装饰艺术的快速发展期,这时的装饰艺术尚未定型,由于受佛教的推动和影响,莲花等植物纹样成为重要的表现题材。尽管北朝开窟造像颇多,但是并没有形成统一的装饰风格。响堂山石窟的装饰艺术非常丰富而独特,因此本文对响堂山装饰艺术在这一特殊时期的历史地位进行了分析。由于北朝战乱不断,政权频频更替,统治者常常来自不同民族,政权建在不同的地域,因此装饰艺术存在多样性和包容性。响堂山石窟尤其如此,有些装饰受云冈石窟影响;有些与龙门石窟相似;有些直接传承了佛教的装饰风格。如接近西方叶纹流变的南响堂第五窟地面的忍冬纹;与云冈石窟相近的北响堂大佛洞的缠枝忍冬纹;更有与隋唐风格相近的卷草纹、龙纹等装饰。而当佛教经萨珊王朝时又携带了联珠纹、火焰纹进入中国,在响堂山石窟渐次变化,最终由响堂山的圆形联珠向隋唐的椭圆形联珠过渡。这些无不体现了响堂山石窟在装饰艺术上的传承性。本文借鉴日本学者长广敏雄在《云冈石窟装饰的意义》中对石窟寺佛教装饰艺术研究的分类,将响堂山装饰艺术也分为建筑结构的装饰艺术和非建筑结构的装饰艺术,对这两方面的研究基本覆盖了响堂山石窟大部分的装饰内容。印度佛教在传播过程中一个重要特征就是随着传播,不断融合新的文化。这一点在佛教装饰艺术中更为明显,通过对佛教装饰艺术的分类论述,特别是对响堂山忍冬纹、莲花纹、龙纹这几种典型佛教装饰纹样的论述,概括并揭示了当时响堂山装饰艺术的基本特性,即佛教装饰经历了发展——传播——吸收——发展——传播的过程。在传播过程中发生民族化和本土化是其必然的趋势,而响堂山石窟装饰艺术对已经吸收了大量其他文化的佛教装饰艺术,又融入了自己的独特文化,赋予了佛教装饰艺术新生命。所有这些都体现了响堂山佛教装饰艺术背后所蕴涵的时代性、流变性、文化性以及强大的包容性。
[Abstract]:Xiangtangshan Grottoes were first dug in the Northern Qi Dynasty Emperor Wenxuan Gao Yang period (AD 550-577). The existing main grottoes are all carved in the Northern Qi Dynasty. This paper mainly focuses on the grottoes decoration art of Xiangtang Mountain and Northern Qi. The Northern and Southern dynasties period is the period of rapid development of decorative art in China. At this time, the decorative art has not yet been finalized, because of the promotion and influence of Buddhism, lotus and other plant patterns become an important theme of expression, although there are a lot of grottoes in the Northern Dynasty. However, there is no uniform decorative style. The decorative art of Xiangtangshan Grottoes is very rich and unique, so this paper analyzes the historical position of Xiangtangshan decorative art in this special period. Because of the continuous war in the Northern Dynasty, regime change frequently, rulers often come from different nationalities, regime is built in different regions, so there is diversity and inclusiveness in decorative art, especially Xiangtangshan Grottoes. Some decorations are influenced by Yungang Grottoes; Some are similar to Longmen grottoes; Some directly inherit the decorative style of Buddhism, such as the ground of Nanxantang 5th Cave near the western leaf grain rheology of the honeysuckle pattern; Similar to the Yungang Grottoes, the twining branches of the Big Buddha Cave in the North Xiangtang are twined with honeysuckle patterns. More similar to the style of the Sui and Tang dynasties, such as curly grass grain, dragon grain decoration. And when Buddhism through the Sassan dynasty with a combination of beads, flame patterns into China, gradually change in Xiangtangshan Grottoes. Finally, the transition from Xiangtang Mountain round Lianzhu to the Sui and Tang Dynasty elliptical Lianzhu, which all reflect the Xiangtangshan Grottoes in the decorative arts heritage. This article draws lessons from the Japanese scholar Changguang Minxiong in "the Yungang Grottoes Decoration significance" to the grottoes temple Buddhist decoration art research classification. Xiangtangshan decorative art is also divided into architectural structure of decorative art and non-architectural structure of decorative art. The study of these two aspects basically covers most of the decorative contents of Xiangtangshan Grottoes. One of the important characteristics of Indian Buddhism in the process of spreading is the following spread. This point is more obvious in the Buddhist decorative art, through the classification of the Buddhist decorative art, especially on the Xiangtang Mountain Lonicera patterns, lotus patterns. The discussion of the typical Buddhist decorative patterns of dragon grain summarizes and reveals the basic characteristics of the decorative art of Xiangtang Mountain at that time. That is to say, Buddhist decoration experienced the process of development-communication-absorption-development-spread, in the process of communication, nationalization and localization is its inevitable trend. And Xiangtangshan grottoes decorative art has absorbed a large number of other cultures of Buddhist decorative art, but also into their own unique culture. All of these reflect the times, variability, culture and strong inclusiveness behind the Buddhist decorative art of Xiangtang Mountain.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：K879.2

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