敦煌壁画中“树”的造型研究

发布时间：2018-05-17 07:57

本文选题：敦煌壁画 + 树　；参考：《郑州大学》2013年硕士论文

【摘要】：敦煌石窟是世界上现存规模最大、内容最丰富的佛教艺术圣地,是东方艺术殿堂中的奇葩。而壁画作为敦煌佛教艺术重要的组成部分,非常值得我们进行研究。在敦煌壁画里,无论是尊像画还是故事画,无论是鸿篇巨制的经变,还是绚丽多姿的山水,其中都可以找到很多“树”的形象,这充分显示出“树”在敦煌壁画中的重要作用。基于此,本文将对敦煌壁画中“树”的造型展开论证。本论文分为五章,首先总结出敦煌壁画中“树”的研究现状、选题意义及研究方法。然后分析“树”在敦煌壁画中的作用,第三部分探讨敦煌壁画中“树”的源流、时代特征、绘画技法等,并选择比较有代表性的芒果圣树和华盖圣树为例,进行系统的比较,探究其渊源和流变过程以及文化内涵。进而,更加明确敦煌艺术的发展脉络。最后得出本文的结论：首先,关于敦煌艺术的渊源。很多专家也学者认为有三种学说,一是西来说,因为敦煌所处的特殊地理位置,在佛教从西方传入的过程中将佛教艺术带入敦煌,从而在敦煌开凿石窟、绘制壁画。二是东来(中原)说,主要是讲中国传统文化随着丝绸之路传入敦煌,从而影响到敦煌的佛教艺术。三是本地说,主要是以其反映敦煌当地民俗习俗和信仰而立论的,认为敦煌当地人们对佛教的信仰,是促使敦煌大量开凿洞窟绘制壁画的重要条件。在此,通过对敦煌壁画中“树”研究,我认为莫高窟佛教艺术的形成,应当是以上三种因素的综合,缺一不可。但相比之下中国传统文化对敦煌艺术的影响更为重要,敦煌当地的习俗和信仰亦起了非常重要的作用。其次,敦煌艺术来源于生活。敦煌壁画的内容虽然表现的是人们想象中的佛国世界,但是从“树”的造型来看,特别是芭蕉、柳树、竹子等树较写实的出现在壁画中,说明敦煌壁画艺术中的形象并不是人们凭空的幻想,而是来源于生活的。又,敦煌艺术发展中呈现出的时代特征。敦煌壁画中的“树”在不同的时期体现出了各自的造型特征,正所谓“笔墨当随时代”。所以,任何一种艺术形式若要长青都是要不断发展的,敦煌壁画如此,我们今天的绘画创作更要吸收外来艺术和其它姊妹艺术形式的营养,只有这样我们的艺术创作才能“紧随时代”,才能取得更大的发展。
[Abstract]:Dunhuang grottoes are the largest and most abundant Buddhist art shrines in the world. As an important part of Dunhuang Buddhist art, murals are worthy of our study. In Dunhuang frescoes, no matter it is a portrait painting or a story painting, no matter it is a monumental scripture or a splendid landscape, many images of "trees" can be found, which fully shows the important role of "trees" in Dunhuang murals. Based on this, this paper will demonstrate the shape of the tree in Dunhuang murals. This paper is divided into five chapters. Firstly, it summarizes the research status, significance and research methods of "Tree" in Dunhuang murals. Then it analyzes the function of "tree" in Dunhuang frescoes. The third part discusses the origin, age characteristics and painting techniques of "tree" in Dunhuang frescoes, and chooses the representative mango tree and Huagai sacred tree as examples to carry on systematic comparison. Explore its origin and evolution process and cultural connotation. Furthermore, the development of Dunhuang art is more clear. Finally, the conclusion of this paper is as follows: First, the origin of Dunhuang art. Many experts and scholars also believe that there are three theories. One is that in the west, because of the special geographical position of Dunhuang, Buddhist art was brought into Dunhuang in the course of Buddhism's introduction from the West, thus digging caves and painting murals in Dunhuang. The second is that the traditional Chinese culture was introduced into Dunhuang along the Silk Road, which affected the Buddhist art of Dunhuang. The third is local theory, mainly based on its reflection of the local customs and beliefs of Dunhuang, that Dunhuang local people's belief in Buddhism is an important condition for Dunhuang to excavate a large number of caves to draw murals. Here, through the study of "trees" in Dunhuang murals, I think that the formation of the Buddhist art of Mogao Grottoes should be a synthesis of the above three factors. But by contrast, Chinese traditional culture has a more important influence on Dunhuang art, and the local customs and beliefs of Dunhuang also play a very important role. Secondly, Dunhuang art comes from life. Although the contents of Dunhuang murals represent the world of Buddha as people imagine, but from the "tree" shape, especially the banana, willow, bamboo and other trees more realistic appearance in the murals. It shows that the image in Dunhuang fresco art is not a fantasy, but comes from life. Moreover, the development of Dunhuang art presents the characteristics of the times. The tree in Dunhuang frescoes embodies their own styling characteristics in different periods. Therefore, if any form of art is to be evergreen, it is necessary for the Dunhuang murals to continue to develop. Our painting today should absorb the nutrition of foreign art and other sister art forms. Only in this way can our artistic creation "follow the times" and achieve greater development.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.6

【共引文献】