五台山唐代彩塑中的绘画性表现研究

发布时间：2018-03-29 09:52

本文选题：五台山　切入点：唐代彩塑　出处：《太原理工大学》2017年硕士论文

【摘要】：隋唐是中国也是山西雕塑艺术的鼎盛时期,山西很多寺观彩塑作为佛教艺术的载体,或绘或塑,无不如此,与中国传统绘画艺术的相融互鉴改变了泥塑材质的单调性,丰富了塑像的艺术语言,在造像艺术世俗化本土化的变革中起着重要作用,构成了我国佛教造像艺术有别于西方印度造像的独特艺术魅力。由于山西古代寺观彩塑分散于全省各地,故而全面系统地研究不是短期内所能完成之事,位于山西省五台山的南禅寺和佛光寺因其雄壮浑厚的唐代木构建筑艺术和豪放古拙的唐代彩塑艺术而驰名古今中外,是唐朝社会悠久而珍贵的历史文化遗迹,因此文章以二寺的唐代彩塑作为考察研究中心。寺内彩塑是国内仅存为数不多的唐代寺庙造像,年代相近,在艺术风格上都不同程度地保留了唐代遗风,但又各具特点,是我国唐代佛教艺术的精华,被视为中国古代彩塑中的精品,充分展现了唐朝社会塑像制作的最高境界,完美诠释了塑与绘的相互补益。五台山南禅佛光二寺殿内佛坛唐代彩塑布局严谨,秉承唐宋时期寺院殿堂造像组合形式,气势恢宏。人物丰浓,肌胜于骨,尽显唐风。人物造型在写实塑造比例、体型、结构的基础上,以探索其气脉理致为依托,精心细致的刻画不同人物的神情面貌,力求表现人物形神、气韵。塑像在艺术表现形式上使用的语言包括:色彩、线条都不具备独立性,仍然是中国传统绘画体系的一部分。其色彩的构成,线描艺术,晕染规律都同中国绘画艺术一样,其中包含了浓重的审美心理因素和审美创造因素。线条的融入,加之色彩以单色平涂并置的表现形式使色块呈排比方式,整体构成平面的视觉形态。塑像群铺式的组合既合仪轨又巧妙地展现了中国绘画构图的形式美感:参差错落统一于对称均衡之势,小中见大统一于场面分割结构之中,动静相依统一于特定的佛教情境之内,呈现出平面向立体过渡的明显特点。此外塑像在弘传佛法的过程中运用指意象征,以物喻法的艺术手法借鉴了中国传统绘画中“象外之境”“言外之意”的意境理论,对于佛教理念的叙述和表达方式上表现为抽象、飘逸,塑造具有诗意的佛教故事情节,构成与中国传统绘画意境创造中讲究诗画一体相同的艺术特点,充分体现了塑与绘的互通性,使塑像呈现出更加典型的东方审美意趣。二寺塑像中体现的绘画性既是对我国传统雕塑绘塑不分家的一种传承,同时一定程度上也受当朝绘画风格的影响呈现出相同的流行样式。
[Abstract]:The Sui and Tang dynasties were the heyday of sculpture art in China and Shanxi. As a carrier of Buddhist art, color sculptures of many temples and temples in Shanxi were painted or sculpted, all of which changed the monotonicity of clay sculpture materials by blending with the traditional Chinese painting art and learning from each other. Enriched the artistic language of the statue, and played an important role in the localization of the image art. The unique artistic charm of Buddhist statue art in China is different from that of western India. Because the colorful statues of ancient temples in Shanxi are scattered all over the province, a comprehensive and systematic study is not something that can be accomplished in a short time. Nanchen Temple and Buddhist Temple, located in Wutai Mountain, Shanxi Province, are famous for their magnificent wooden architecture art of the Tang Dynasty and bold and clumsy Tang Dynasty color sculpture art, which is a long and precious historical and cultural relic of the Tang Dynasty society. Therefore, the article takes the Tang Dynasty color sculptures of the two monasteries as the research center. There are only a few statues of the Tang Dynasty in China, which are similar in age and have different artistic styles, but each has its own characteristics. It is the essence of the Buddhist art of Tang Dynasty in our country. It is regarded as a fine work in the ancient Chinese color sculptures, and it fully shows the highest state of making statues in the Tang Dynasty society. It perfectly interprets the mutual benefit of sculpture and painting. The Buddhist altar in the temple of the second Temple of Buddhist Light in South of Wutai Mountain has a rigorous layout, inheriting the combination form of temples and temples in the Tang and Song dynasties, and it is magnificent. The figures are rich and strong, and the muscles are superior to the bones. On the basis of realistic portrayal of proportion, shape and structure, and relying on the exploration of its Qi and pulse, carefully and meticulously portray the facial features of different characters, and strive to express the characters' shapes and spirits, The language used in the artistic expression of the statue includes: color and lines are not independent and are still part of the traditional Chinese painting system. The composition of colors, the art of line drawing, and the law of dizziness are all the same as those of Chinese painting. It contains the heavy aesthetic psychological factors and aesthetic creation factors. The integration of lines and the coloring of monochromatic flat coloring make the color blocks in proportion to each other. The overall visual form of the plane. The combination of the statue group and the layout not only conforms to the instrument but also cleverly shows the formal beauty of the composition of Chinese painting: the heterogeneity is unified in the trend of symmetry and equilibrium, and the small and medium-sized is unified in the structure of scene segmentation. The static and dynamic dependence is unified in a specific Buddhist context, showing a clear transition from plane to three-dimensional. In addition, the statue is symbolized by finger meaning in the process of spreading Buddhist Dharma. This paper draws lessons from the artistic conception theory of "the boundary outside the image" and "the implication" in the traditional Chinese painting by using the artistic method of the metaphorical method. The narration and expression of the Buddhist concept are expressed as abstract, elegant and poetic Buddhist story plot. It has the same artistic characteristics as traditional Chinese painting in the creation of artistic conception, which fully embodies the intercommunication between plastic and painting. So that the statue presents a more typical Oriental aesthetic interest. The painting embodied in the statues of the two monasteries is a inheritance of the traditional sculptures and sculptures in our country. At the same time, to some extent, Dangchao painting style also showed the same popular style.
【学位授予单位】：太原理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J315

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