唐代佛教植物装饰纹样研究

发布时间：2018-03-15 18:14

本文选题：唐代　切入点：佛教　出处：《西北大学》2009年硕士论文　论文类型：学位论文

【摘要】： 佛教植物纹样装饰艺术是印度佛教在传播过程中逐渐形成的一种重要文化现象,并在印度佛教进入中国之后不断发展演变,到唐代时达到鼎盛,成为佛教中国化的有机组成部分,从而既在佛教文化历史上留下浓厚的一笔,也在中印文化交往进程中占有不可忽视的地位,值得认真研究。本文通过历史学、宗教学、考古学、艺术学等方法,对唐代佛教植物装饰纹样的转型、特征及其历史渊源与后世影响等问题进行分析,试图把握唐代佛教植物纹样装饰艺术的演变进程、文化内涵与历史作用,为揭示佛教艺术与社会以及与哲学思想、宗教解脱、文明交往等诸多关系提供有益的借鉴。本文第一章借助遗留在犍陀罗、马土腊、阿马拉瓦蒂各个不同地区的孔雀王朝、贵霜王朝、巽伽王朝、笈多王朝等各个时期佛教植物装饰纹样的典型遗物,探讨了古代印度传统的佛教植物装饰纹样,并分析了印度民族在装饰领域的独特审美倾向及其在佛教和印度教中的不同体现。这是唐代佛教植物纹样装饰艺术的异域渊源。本文第二章通过对佛教传入东土之前中国传统的装饰纹样和佛教传入后到唐代之前佛教植物装饰纹样的分别论述,特别是对南北朝时期忍冬纹和莲花纹这两种典型佛教植物装饰纹样的论述,说明唐以前中国佛教植物纹样装饰艺术的基本特性,并揭示当时中外文明交往的一个基本特性,即印度的装饰艺术作为父体的基因细胞,而深厚的中华文明则始终是孕育和塑造某种新生艺术的母体温床,中印文明的这种交往格局决定了唐以前佛教植物纹样装饰艺术的基本历史进程与文化个性。本文第三章分析集中探讨唐代佛教植物装饰纹样的转型及特征,首先对唐代佛教植物装饰纹样转型的社会和文化背景进行说明,其次对唐代佛教植物装饰的典型纹样即卷草纹和宝相纹的出现和应用情况进行研究,接着从总体上对唐代佛教植物装饰纹样的转型,将其划分为摹仿、组合、创新三个阶段,最后再对唐代佛教植物装饰纹样的基本特征进行把握,总结出题材的多样性、造型的写实性以及风格的富丽饱满和灵活多样等特征。本文的第四章分析唐代佛教植物纹样装饰艺术对中国植物纹样装饰艺术创作理论、创作技巧以及国人审美趋向等方面的影响。本文认为,佛教传入中国后一直到唐代,由于大量的外来艺术样式的参与,极大地丰富了中国纹样装饰艺术的题材,使纹样装饰艺术的创作理论得到了发展,创作技巧也有了划时代的进步。由此形成的唐代佛教植物纹样装饰艺术对国人审美趋向也产生了深刻的影响。本文的结语部分是在总结以上研究的基础上提出关于艺术发展以及中印文化交往的一些基本认识。本文认为,流传在不同文化圈中的任何艺术样式,在相互交往过程中发生民族化和本土化是其必然的趋势;任何艺术样式的形成都有来自各个不同方面的复杂因素,除了外来文明的有力影响外,本土文明的基础作用更不容忽视;再者,还有艺术按其自身发展规律而发生的嬗变。所有这些都体现了唐代佛教植物装饰纹样背后所蕴涵的文化性、时代性、流变性以及文明交往中的对话与融合等多种重要特性。
[Abstract]:The decorative art of plant patterns in Buddhism is an important cultural phenomenon of Buddhism in India gradually formed in the process of communication, and in India Chinese Buddhism into the evolving, reaching its peak in the Tang Dynasty, to become the organic part of the Buddhist Chinese, which not only in the Buddhist culture history of a strong, have not an important position in the cultural exchanges between China and India in the process, is worthy of careful study.
In this paper, through the study of religion, history, archaeology, art and other methods, the transformation of the Tang Dynasty Buddhist decorative plant patterns, characteristics and historical origins and influence analysis, trying to grasp the evolution process of the Tang Dynasty Buddhist decorative patterns of plants, cultural connotation and historical role, in order to reveal the Buddhist art and society, and philosophy. Religious relief, provides a useful reference for many other civilization communication relationship.
The first chapter of this paper with the help of legacy in Gandhara, Ma La, Amaravati in various parts of the Mauryan sunga, Kushan Dynasty, Dynasty, typical artifacts and other periods of the Gupta Dynasty Buddhist decorative plant patterns, discusses the ancient India traditional Buddhist plant decorative patterns, and analyzes the India nationality in the field of decoration the unique aesthetic tendency and different embodiment in Buddhism and Hinduism. This is the origin of the Tang Dynasty Buddhist exotic decorative patterns of plants.
In the second chapter, through the introduction of Buddhism in China before China traditional decorative patterns and Buddhism to the Tang Dynasty before the Buddhist decorative plant patterns were discussed, especially on the northern and Southern Dynasties honeysuckle and lotus pattem of the two typical Buddhist decorative plant patterns discussed that the basic characteristics of Tang Dynasty China Buddhist decorative patterns of plants. One of the basic characteristics and reveals the Sino-foreign cultural exchanges, namely India decorative art as a parent cell gene, and profound Chinese civilization is always conceived and create a new art base temperature bed, the communication pattern between China and India civilization determines the basic history and cultural personality before the Tang Dynasty Buddhist decorative patterns of plants.
The third chapter focuses on the analysis of the transformation and characteristics of the Tang Dynasty Buddhist decorative plant patterns, the Tang Dynasty Buddhist decorative plant patterns in the transformation of social and cultural background is described, followed by the emergence of the typical patterns of the Tang Dynasty Buddhist decorative plant is the volume grass grain and grain with and should be studied with, then the transformation of the Tang Dynasty Buddhist decorative plant the patterns on the whole, it will be divided into imitation, combination, innovation in three stages, the basic characteristics of the Tang Dynasty Buddhist plant decorative patterns to grasp, summed up the theme of diversity, shape and style of writing is rich full and flexible features.
The fourth chapter analyzes the Tang Dynasty Buddhist decorative patterns of plants to plant patterns China decorative art creation theory, creation techniques and the trend of Chinese aesthetic and other aspects. This paper argues that the introduction of Buddhism after China until the Tang Dynasty, due to the large number of foreign art participation, has greatly enriched the Art Deco China pattern of theme, the decorative pattern art creation theory development, creative skills has epoch-making progress. The formation of the Tang Dynasty Buddhist decorative patterns of plants on the trend of Chinese aesthetic also had a profound impact.
The conclusion of this paper is based on the summarizing of above research put forward some basic knowledge about the development of art and cultural exchanges between China and India. This paper argues that any artistic style circulated in different cultures, in the interaction between nationalization and localization process is the inevitable trend; any artistic form is complex the factors from different aspects, in addition to alien civilizations, the basic role of local civilization can not be ignored; furthermore, there is the evolution of art according to their own law of development occurred. All these reflect the culture of the Tang Dynasty, behind the Buddhist decorative plant patterns contained in the times, the important characteristics of rheology and civilization exchanges such as dialogue and integration.

【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J509.2

【引证文献】