大足石刻的视觉叙事审美特征研究

发布时间：2018-03-02 02:12

本文关键词： 大足石刻视觉叙事审美特征　出处：《西南大学》2017年硕士论文　论文类型：学位论文

【摘要】：大足石刻是我国佛教艺术的杰出之作,比起我国敦煌、龙门石窟等造像庄严华丽的神像,大足石刻代表了晚期佛教石刻特有的审美趣味,造像特征的人间化和丰富的视觉叙事格局赋予了大足石刻独一无二的美学价值,“连环画”式的群像造像也具有不同于北方造像的独特视觉叙事研究价值。所以笔者的主要研究对象就是大足石刻中以宝顶山大佛湾石刻为主的群像视觉叙事演变和审美特征。除了宝顶山大佛湾作为主要研究对象之外,本文的内容还涉及其北山石刻,石篆山石刻等单龛佛像的视觉叙事风格和审美特征。上个世纪末九十年代以来大足石刻在中国经历了佛教从魏晋到隋唐的时间轴转变,这种转变不仅是佛教本土化的过程,也是佛教造像从庄严华丽到世俗化人间化的视觉叙事审美转向的过程。被评为世界非物质文化遗产以后,儒释道三教合一造像所体现的审美观和视觉叙事表现手法是空前的,十足的中国化了。但目前的研究多停留在文物保护,硬件维修,旅游开发等层面,也有学者感受到了大足石刻是视觉造像的宝贵遗产,从大足石刻艺术造型等方面为主,比如已故的王朝闻先生曾高度赞扬大足石刻,并称普贤菩萨为“东方维纳斯”的理念,但目前鲜少有人从视觉叙事的角度来研究,因此本文是从视觉叙事的角度来论述大足石刻。本文分为四章,试图第一章从大足石刻存在形态以及视觉叙事话语的角度来论述,第二章从题材维度来论述,第三章从三教合一的角度导致人间化,世俗化的叙事风格来作探讨。本文的研究方法采用人类学的考察方式,建立在深入分析大足石刻视觉叙事,同时也用了图像解释学的方法以及比较研究法来探究大足石刻和麦积山石窟,敦煌石窟,云冈石窟的差异。通过本文的论述得出大足石刻作为中国晚期石刻代表的杰作,在叙事方面也达到了最高层面。在单体,群像都有自己独特的叙事话语,从内容上也指向了两宋时期巴蜀地区人们的生活情态。世界遗产中心的协调员考察大足时认为它符合申报条件的原因是:“佛教,道教,儒教三教造像能真实的反映当时中国社会的哲学思想和风土人情”,的确,对于儒释道三教合一的石窟雕像中,论反映哲理系统深邃,涉猎生活面丰富广阔,布局完善周密,视觉叙事风格独特,都应首推大足宝顶石窟。
[Abstract]:Dazu stone carving is one of the outstanding works of Buddhist art in our country. Compared with the majestic idols of Dunhuang, Longmen Grottoes and other statues, Dazu stone carvings represent the unique aesthetic taste of late Buddhist stone carvings. The unique aesthetic value of Dazu stone carving is endowed by the humanization of the portrait features and the rich visual narrative pattern. The group images of "comic strip" also have unique visual narrative research value which is different from that of the northern statues. Therefore, the pen has its own unique value in the study of visual narration. The main object of study is the visual narrative evolution and aesthetic characteristics of the group images in Dafawan stone carvings of Baoding Mountain, in addition to the Dafo Bay of Baoding Mountain as the main research object. The content of this paper also deals with the visual narrative style and aesthetic characteristics of the Buddhist statues of the Beishan Stone carving, the Stone Seal Stone carving, the Stone inscription of the Stone inscription of the Mount Beishan, etc. Since the end of 0th century and 90s, Dazu stone carvings have experienced the time axis transformation of Buddhism from Wei and Jin to Sui and Tang dynasties in China. This transformation is not only the process of the localization of Buddhism, but also the process of changing the aesthetic of the visual narrative of Buddhist statues from grandeur to secularization. After being appraised as the intangible cultural heritage of the world, The aesthetic and visual narrative techniques embodied in the statues of Confucianism, Buddhism, Taoism and Taoism are unprecedented and completely Chinese. However, at present, most studies remain at the levels of cultural relic protection, hardware maintenance, and tourism development. Some scholars have also felt that Dazu stone carvings are a valuable heritage of visual statues, mainly in terms of the artistic modeling of Dazu stone carvings. For example, the late Mr. Wang Zhaowen once highly praised Dazu stone carvings and called the Bodhisattva the concept of "East Venus." But few people study it from the angle of visual narration, so this paper discusses Dazu stone carvings from the angle of visual narration. This paper is divided into four chapters, the first chapter tries to discuss Dazu stone carvings from the angle of the existential form of Dazu stone carvings and the visual narrative discourse. The second chapter discusses from the subject dimension, the third chapter from the angle of integration of the three religions leads to the world, secularized narrative style to explore. The research method of this paper is based on the in-depth analysis of the Dazu stone carving visual narrative. At the same time, we also use the method of image hermeneutics and comparative study to explore the difference between Dazu stone carving and Mai Jishan Grottoes, Dunhuang Grottoes and Yungang Grottoes. In the narrative aspect also reached the highest level. In the individual, the group image has its own unique narrative discourse, In terms of content, it also points to the lifestyle of people in the Bashu region during the Song Dynasty. When the coordinator of the World Heritage Center visited Dazu, he thought that the reasons why it met the requirements for declaration were: "Buddhism, Taoism, The statues of the three religions of Confucianism can truly reflect the philosophical thoughts and local customs of the Chinese society at that time. "indeed, for the grottoes statues of Confucianism, Buddhism, Taoism and Taoism in one, the philosophical system is profound, the scope of life is rich and vast, and the layout is perfect and thorough. Visual narrative style is unique, should be the first Dazu Baoding Grottoes.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J315

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