青州龙兴寺窖藏佛像的背屏装饰形式与风格探究

发布时间：2018-05-18 19:14

本文选题：青州 + 龙兴寺　；参考：《山东艺术学院》2017年硕士论文

【摘要】：在魏晋南北朝时期,青州成为佛事活动繁盛的区域,从已经出土的大量佛教造像等各种佛教文物来看,时间跨度大致从北魏中后期到北齐时代。并且,作者在实地考查和文献调查时发现,当时的石质雕刻佛教造像造型中,即融合了中土与西域的风格,同时也兼容了中原各地的造像特点,俨然已经具有独特的区域特征。1996年,在青州龙兴寺发掘出的众多佛教窖藏造像中,造像上的贴金装饰与彩绘装饰基本保存良好,窖藏造像的背屏部分装饰元素颇为丰富,有飞天、龙、莲花、火焰纹、佛塔等多种元素组合而成,为学术界的研究提供了重要的文物考查资料。因此本文的研究以青州龙兴寺佛教窖藏造像的背屏为研究对象,以其丰富多变的装饰种类和造型风格为研究内容,在大量查阅资料的基础上,研究分析佛教造像的背屏装饰种类、类型,以及特征。龙兴寺佛教造像具备多元化的风格,特别是在东魏时代与北齐时代产生的造像。到了北齐时代,龙兴寺造像已经出现显著的“青州风格”,此种现象的产生有着诸多要素的共同作用。若以佛教传播为视角进行分析,南北朝时期是佛教文化兴盛阶段,青州佛教造像具备很高的艺术性是有着历史时代的因素。基于佛教活动的广泛开展,让青州龙兴寺佛教造像在集成南朝造像的特征时,同时也与西域文明相融合。在上述因素共同作用的基础上,创作者结合当地的审美思维,社会需要,不断产生青州造像风格。最近这些年来,随着研究的不断深入拓展,当前主要的分析课题集中在考察造像主尊与菩萨像造型的出处,针对实际佛像的造像风格展开分析。不过在此环节中,学者们忽视了对背屏装饰的分析,将其作为次要的研究对象,常常在分析中一笔带过,鉴于缺乏年代分析,以及尚未建立数字图像处理体系。所以,该领域的研究常处于起步阶段。本文在研究中拟定解决上述的问题,然后深入探讨青州龙兴寺佛教造像的背屏装饰艺术,采用对比的方式进行研究,考量同一时代背屏中不同元素的造型特点,发掘共性规律,探寻差异化现象,如针对飞天造像元素的不同造型进行梳理等。此种分析模式会对本文研究带来必要的理论支撑,从佛教与艺术等层面进行多元化的分析。青州龙兴寺出土的造像数量庞大、类型多样、技法精湛、装饰漂亮,不仅具备史学研究价值,同时也是艺术瑰宝。这些经过了历史掩埋的珍贵资料,现在重见天日的窖藏石佛像,为我国的美术发展史和史学均提供详尽的实物资料。本文不仅需要研究其背屏装饰元素的形式,也同时尝试探讨青州龙兴寺佛教窖藏造像的产生、作品具备的风格与特征、装饰效果与手段,以及对比分析青州佛教造像与周围区域的特征。运用多种整理和分析的方法,对青州龙兴寺出土的窖藏石佛造像的背屏装饰艺术进行综合性的分析,包括图像学分析模式、比较学分析模式、类型学分析模式,以及文献资料分析模式等,结合青州龙兴寺佛教窖藏造像风格的变化、佛教文化发展的情况、时代背景,以及区域文化特征等,从细节处找寻造像的具体信息。分析龙兴寺佛教窖藏造像背屏装饰的风格,以及其对现代设计产生的影响,最终了解青州佛教造像背屏装饰艺术的内涵。
[Abstract]:In the period of the Wei, Jin and Northern and Southern Dynasties, Qingzhou became a flourishing area of Buddhist activities. From a large number of Buddhist relics, such as Buddhist statues, which had been unearthed, the time span was roughly from the late middle and late Northern Wei to the Northern Qi era. And the author found in the field examination and literature investigation that the stone sculptures in the stone sculptures were fused with the middle soil and the middle soil. The style of the western region, at the same time also compatible with the features of the Central Plains, has unique regional characteristics,.1996 years, in Qingzhou Longxing Temple excavated in a number of Buddhist pit images, the statue of gold decoration and painted decoration is basically well preserved, the cellar image of the back screen part of the decorative elements are quite rich, flying, dragon, lotus, The combination of many elements such as flame and pagoda provides important cultural relics for academic research. Therefore, this study takes the back screen of the Buddhist pit of Longxing Temple in Qingzhou as the research object, with its rich and changeable decorative types and styling styles as the research content, and on the basis of a large number of reference materials, the study and analysis of Buddhism The types, types, and characteristics of the back screen decoration of the religious statue. The Buddhist statue of Longxing Temple has a diversified style, especially in the Eastern Wei Dynasty and the Northern Qi era. In the period of the Northern Qi Dynasty, the statue of Longxing Temple has appeared in a remarkable "Qingzhou style", and the production of this phenomenon has the common effect of many factors. From the angle of view, the period of the northern and Southern Dynasties is the flourishing stage of the Buddhist culture. The high artistic nature of the Buddhist statues in Qingzhou is a factor in the historical era. Based on the extensive development of the Buddhist activities, the Buddhist statue of the Longxing Temple in Qingzhou has been integrated with the Western civilization. On the basis of this, the authors combine with the local aesthetic thinking and social needs to produce the Qingzhou image style. In recent years, with the continuous development of the research, the main analysis topics are focused on the appearance of the statue of the main statue of the Buddha and the statue of the Bodhisattva, and the analysis of the style of the statue of the Buddha. Scholars have ignored the analysis of back screen decoration as a secondary research object, often in the analysis, in view of the lack of time analysis and the establishment of digital image processing system. Therefore, the research in this field is often in its infancy. This paper is to solve the above problems in this study, and then discuss Qingzhou Longxing in depth. The decorative art of the back screen of the Temple Buddhist statues is studied in a comparative way to examine the characteristics of the different elements in the back screen of the same time, to explore the common laws and to explore the phenomenon of differentiation, such as combing the different shapes of the elements of the flying sky, and so on. This model will bring the necessary theoretical support to this study, from Buddhism. Qingzhou Longxing Temple, which has a huge number, diverse types, exquisite workmanship and beautiful decoration, not only has the value of historical research, but also a treasure of art. This article not only needs to study the form of the decorative elements of its back screen, but also tries to explore the production of the Buddhist pit statues in Qingzhou Longxing Temple, the style and characteristics of the works, the effect and means of decoration, as well as the characteristics of the Buddhist statues and circumference areas in Qingzhou. This paper makes a comprehensive analysis of the decorative arts of the back screen decoration of the cellar Buddha statue unearthed in Qingzhou Longxing Temple, including the pattern of image analysis, the model of comparative analysis, the model of typology, and the model of the analysis of the literature and data. It combines the changes in the wind grid of the Buddhist cellar in Longxing Temple in Qingzhou, the development of Buddhism culture and the background of the times. As well as regional cultural features, find out the specific information of the statue from the detail, analyze the style of the back screen decoration of the Buddhist pit and its influence on the modern design, and finally understand the connotation of the decorative art of the back screen of the Buddhist statue in Qingzhou.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J315

【参考文献】