唐朝敦煌壁画中的飞天造型研究

发布时间：2018-08-19 09:10

【摘要】：敦煌壁画是我国佛教艺术中璀璨夺目的明珠。其中唐朝时期的壁画作品代表了我国壁画艺术的最高水平,同时也是敦煌佛教艺术发展过程中最为辉煌的阶段。“飞天”形象是敦煌壁画中的重要组成部分,具有强烈的艺术装饰性。“飞天”以其飘逸灵动的造型深受人们的赞叹和怜爱,并成为佛教艺术的标志和中国文化的经典符号。“飞天”的造型具有很强的写意性,这不仅反映了我国传统绘画不受客观物象限制的意象造型观念,同时也体现了中国传统绘画所追求的“天人合一”、“物我相契”的审美理念。基于此,本文对唐朝“飞天”形象的造型特征展开论述。本文共分五章,首先在绪论中阐明唐代敦煌壁画中飞天的研究现状、选题意义及目的和“飞天”这一名词的由来;然后第一章开始论述飞天的起源与发展,以及唐朝各时期的飞天所呈现出的时代特征;在第二章进一步结合唐朝敦煌壁画中飞天的具体形态,总结、归纳出其造型特征并逐一阐述;紧接着第三章分析出唐朝飞天形象形成的原因;接下来第四章将唐朝时期不同地域的飞天形象进行比较,找出彼此地域性的差别;最终第五章得出结论,飞天是虚构的形象,是人们按照自己的想象塑造出来的,根据自己的审美经验和理想制作出有飘逸,有美感、有个性的形象,在造型上具有非常强烈的意象性。正因为唐朝敦煌飞天反映出的不拘泥现实物,以主观情感的表达为目的造型观念对当代写意人物画的创作具有重要的指导意义。
[Abstract]:Dunhuang murals are bright pearl in the Buddhist art of our country. The mural works of Tang Dynasty represent the highest level of Chinese mural art, and are also the most brilliant stage in the development of Dunhuang Buddhist art. The image of Feitian is an important part of Dunhuang frescoes and has strong artistic decoration. Feitian is deeply admired and loved by people for its elegant and moving shape, and has become the symbol of Buddhist art and the classic symbol of Chinese culture. The modelling of "Feitian" has strong freehand brushwork, which not only reflects the image modeling concept of Chinese traditional painting which is not restricted by objective objects, but also reflects the "unity of nature and man" pursued by Chinese traditional painting. The aesthetic idea of "matter and I agree with each other". Based on this, this paper discusses the modeling features of the image of Feitian in Tang Dynasty. This paper is divided into five chapters, first of all, in the introduction of the Dunhuang frescoes in the Tang Dynasty, the research status quo, the significance and purpose of the topic and the origin of the term "flying sky" are expounded, and then the first chapter begins to discuss the origin and development of flying sky. In the second chapter, combined with the concrete form of flying sky in Dunhuang frescoes of Tang Dynasty, summarized and summarized its modeling characteristics and elaborated one by one. Then the third chapter analyzes the reasons for the formation of the image of flying sky in Tang Dynasty; the fourth chapter compares the images of flying sky in different regions of Tang Dynasty to find out the regional differences between them. Finally, chapter five concludes that Feitian is a fictional image. It is created by people according to their own imagination, according to their own aesthetic experience and ideal to create a graceful, aesthetic, personality image, in the shape of a very strong image. It is precisely because the flying sky of Dunhuang in Tang Dynasty reflects that the object is not restricted, the expression of subjective emotion as the purpose of the concept of modeling for the creation of contemporary freehand brushwork has an important guiding significance.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J218.6

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