北魏云冈飞天雕塑造型形式探究

发布时间：2018-03-16 12:24

本文选题：飞天　切入点：云冈石窟　出处：《山东工艺美术学院》2017年硕士论文　论文类型：学位论文

【摘要】：飞天,作为印度佛教造型艺术的一种形式,伴随佛教教义与佛造像的附属而传播存在,并被赋予特殊的艺术美感价值。通过研究其在石窟造像的演变,为佛教在中国的传播发展探究提供史料价值。北魏云冈石窟作为印度佛教传入中国的纽带,其窟内飞天浮雕造型的分析是其整个传播脉络的体现。云冈按开凿的时间及风格特点共分为初探、融合、贯通的早、中、晚三个时期,其中,早期多为犍陀罗风格,中期受孝文帝改革的影响,出现宽衣博带衣服样式以及秀骨清像的南朝绘画风格的转变。其线刻与写实塑造的虚实结合雕塑手法的云冈模式,是佛、道、儒讲究天人合一的境界追求体现。按其风格又分为三个时期,为犍陀罗时期、宽衣博带和犍陀罗并存时期、宽衣博带时期。等到晚期,虽为民间造像,但风格趋于成熟,使塑造与线刻虚实相结合的方式成为“云冈模式”,作为对比,北魏、东魏、北齐等同时代的不同石窟其造型也大为不同,甘肃马蹄寺石窟群、敦煌莫高窟、麦积山石窟、青州佛造像的飞天样式与云冈做对比研究。“张家样”、“曹家样”、“吴家样”开始成为其继承与澶变的造像模式。龙门石窟、巩县石窟等在继承云冈模式的基础上,受中原文化与审美趣味的改变,开始由瘦骨清像向身短体腴的转变。此外,通过结合毕业作品的分析,借鉴中国传统绘画性与西方雕塑的写实性,探讨其技法相互融合新的造像模式。
[Abstract]:Feitian, as a form of Buddhist plastic arts in India, spread and existed along with the attachment of Buddhist doctrine to Buddha statues, and was endowed with special artistic aesthetic value. The Yungang Grottoes in the Northern Wei Dynasty, as a link between Indian Buddhism and China, provided historical value for the study of the spread and development of Buddhism in China. According to the time and style characteristics of the excavation, Yungang is divided into three periods: the early, the middle and the late. Among them, the early period is Gandhara style. Influenced by the reform of Emperor Xiaowen in the middle of this period, there was a change in the style of painting in the Southern Dynasty, in which the styles of clothes and clothes with broad clothes and pure images were shown. The Yungang model, which combines the sculpt techniques of the line engraving with the realistic portrayal, is the Buddha and the Tao. According to its style, Confucianism was divided into three periods: the Gandhara period, the period of the coexistence of kanayama and Gandhara, and the period of undress. In the late period, although it was a folk statue, its style tended to be mature. In contrast, the different grottoes of the Northern Wei Dynasty, the Eastern Wei Dynasty and the Northern Qi Dynasty have different shapes, such as the Mafoo Temple Grottoes in Gansu, the Mogao Grottoes in Dunhuang, and the Maijishan Grottoes in Dunhuang. A comparative study was made between the flying patterns of the Buddha statues in Qingzhou and Yungang. "Zhang Jia sample", "Cao Family sample" and "Wu Jia sample" began to become the model of its inheritance and change. Longmen Grottoes and Gongxian grottoes were based on the Yungang model. Due to the change of the culture and aesthetic taste of the Central Plains, it began to change from the thin bone clear image to the short body. In addition, by combining the analysis of the graduation works, we can learn from the realism of Chinese traditional painting and Western sculpture. The new image model is discussed.
【学位授予单位】：山东工艺美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J315

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