宗教艺术的文化增殖及内在逻辑

发布时间：2018-01-19 06:28

本文关键词： 宗教艺术文化增殖图像样式美学风格　出处：《甘肃社会科学》2017年04期 　论文类型：期刊论文

【摘要】：宗教艺术的文化增殖创造了人类文化传播史上的奇观。中国佛、道、儒三教延伸、传播的发展历程,揭示出宗教艺术文化增殖的独特性,突出表现在宗教图像样式与独特美学风格的确立及延伸、传播。宗教图像样式是宗教意义与艺术形象的创造性统一,其确立及大规模增量复制为宗教艺术传播打开局面。在统一图像样式的过程中,名手巨匠的贡献巨大,他们擅长取材于民间,刻画出生动的宗教艺术形象,建立起宗教意义与世俗之间新的审美联结,为时人及后世所传摹。独特美学风格的形成则相对缓慢,然而其一旦确立,即成为文化生产取之不尽的创新源泉,获得强大的再生、循环功能与持久的文化生命力。宗教艺术的内在使命,决定其始终牢牢把握宗教意志与审美传统二者之间的平衡,由此体现出其双向同化的文化增殖与建构过程。
[Abstract]:The cultural multiplication of religious art has created a marvelous spectacle in the history of human cultural communication. The expansion and spread of the three religions in China, Buddhism, Taoism and Confucianism reveal the uniqueness of the proliferation of religious art and culture. The prominent manifestation is the establishment and extension of the religious image style and the unique aesthetic style, and the dissemination of the religious image style, which is the creative unity of the religious meaning and the artistic image. Its establishment and large-scale incremental reproduction of religious art for the spread of open situation. In the process of unifying the image style, the great master of great contributions, they are good at drawing from the folk, portray vivid religious art image. To establish a new aesthetic connection between religious significance and secular life, the formation of unique aesthetic style is relatively slow, but once it is established, it becomes an inexhaustible source of innovation in cultural production. The internal mission of religious art determines that it always grasps the balance between religious will and aesthetic tradition. This reflects its two-way assimilation of cultural proliferation and construction process.
【作者单位】：东南大学艺术学院;
【基金】：国家社科基金重大项目“长江流域宗教文化”子课题“长江流域道教造像与造像记”(11ZD117)
【分类号】：J19
【正文快照】： 宗教艺术的文化增殖,创造了人类文化传播史上的奇观。宗教艺术所创造的艺术样式与美学典型,促进了民族文化的优化发展,使得文化信息代代传承,并不断积累、沉淀为民族文化的基底与创新源泉。当一种文化传播到另一文化时,必然要与其适应并受其影响,从而使原有的文化在一定程度上

【相似文献】