浅谈敦煌石窟壁画的艺术魅力

发布时间：2018-04-28 21:05

本文选题：艺术表现语言 + 色彩　；参考：《东北师范大学》2011年硕士论文

【摘要】：中国的文化长河蔓延几千年,人们在不断的探索当中发现了许许多多令人惊奇的历史文化,敦煌石窟壁画艺术就是我国历史遗迹中的瑰宝。在没有研究学习敦煌壁画艺术之前,中国历史给我的印象是古板的是封闭的,幸好这座记录了中国一千六百多年历史的文化博物馆改变了我之前的浅薄看法。敦煌石窟艺术汇聚了多种文化因素,在敦煌都对它们进行了很巧妙的吸收与运用,我们都知道具有影响意义的古文化有来自印度、希腊、伊斯兰和中国,幸运的是这四个文化在中国得到了融合与交汇。在这里敦煌艺术跨越了文化的差异,种族的不同,地域以及时空的分别,这是它的艺术魅力得以传承至今的重要原因。敦煌壁画艺术的主要内容是以佛教文化为中心,佛教文化就是在当时从印度流传过来的,敦煌石窟有数以千计个,都是围绕佛教教义的内容,把佛教艺术升华化,并且很完整表现出来,这种统一的表现内容使得敦煌石窟看上去十分的壮观,并且让去到过那里欣赏研究的人们为之而震撼。敦煌壁画艺术在表达佛教内容的同时,也画有世俗的场景,对人物的描绘形形色色,借鉴了来自西域的文化,西魏时期的洞窟中就有一边是坦胸露体的印度人形象,另一边是长袍大袖的中国人形象,两边的形象特点各不相同。北魏的洞窟内东西南北四壁的内容都是佛教文化内容,在窟顶四周,则描绘道教文化以及中国传统神话女娲等题材。可见敦煌石窟中的内容丰富,形象多种多样,融合了中华传统与印度佛教,由此可见当时我们对外来文化在吸收与运用时,是尊重与适度的。敦煌壁画艺术的风格表现上更多的体现了对外来文化的吸收与融合。所言的犍陀罗艺术就是借助来自古希腊式的装饰手法去表现印度的艺术创作题材,通过中西文化交流,犍陀罗的艺术表现方式来到了中国,敦煌壁画中,北凉时期的石窟中有描绘的交脚菩萨,那种表现方式就是非常典型的犍陀罗风格的造型。石窟的墙壁上还绘有裸体的“飞天”的形象,这与中国传统的形象是截然相反的,很显然也是受到了西域文化的影响。有的还借助了天竺画明暗式的画法结合中国传统的晕染法,两者相互融洽,互为补充。在敦煌壁画的表现中我们看到了如何在发扬本土文化的同时又吸收运用外来文化艺术的巧妙之处。敦煌壁画的颜色经历了一千六百多年的洗礼,已经不再是当初的样子,侵蚀、剥落、变化等原因,使得敦煌壁画看起来具有沧桑的美感。但是敦煌壁画本身的色彩是丰富多彩的,画面很有冲击力,看上去具有很强的视觉张力,能够迎合人们宗教情绪的审美心理需要。敦煌壁画在画面设色方面,往往是内容和主题在起着主导作用,具有很强的象征意义。我国古时候,绘画被称为丹青,“丹青”的意思是当时主要流行的颜色,其中有五种颜色代表,有蓝色,黄色,红色,白色和黑色。敦煌壁画的颜色发展,有其复杂的演变,首先,在色彩和对绘画的风格,不同时代,不同社会习惯使用,使用不同颜色的形式在他的茂盛时期和其他宗教艺术一样是表现为敦煌壁画艺术的象征,它在性能和色彩的运用尤为明显,壁画本身就具有良好的色彩,以象征性,加强了宗教壁画的精神内容,突出表现了主题的象征性人物。首先,体现在绘画风格,不同时代,不同的社会习俗,让不同的颜色有其自身的形式出现郁郁葱葱的时期,可以说是领先了几十年的趋势。敦煌壁画数量之多,面积之广,是亘古未有的艺术宝藏,历时了十个世纪以上,也能够如此完整地保存下来,以此供后人欣赏或膜拜,其中古人的心血我们可想而知。敦煌壁画历经不同的朝代都有着不同的变化,也可以说是它的命运与政治息息相关,统治者的态度决定着敦煌壁画艺术的方方面面,一个国家精神上强盛与国力的兴旺是成正比的,这一点,我们通过研究敦煌壁画艺术可以显而易见的观察到。敦煌壁画艺术表现着中国历朝历代的兴衰面貌,传达着历史的文明讯息,准确而有力的记录着中华文明的成长每一个阶段。敦煌石窟艺术自从被发现以来,有很多学者对壁画方面进行了专业性的研究,我在查阅学习前辈的研究资料后,通过分析和推论,对敦煌壁画历史的来龙去脉、和它独有的艺术魅力以及形成因素进行浅显的探讨和分析,围绕敦煌壁画艺术独特的创造性,去解读其风格的形成原因以及特点,和它的语言表现方式对人们的视觉和心理所产生的效应,从而对壁画在创作过程中所应具备的重要因素展开探讨和论述。对现代壁画在创作过程当中如何去把握画面的整体协调对应关系进行探索,阐述了古人在创作敦煌壁画的时“中西合璧”的积极意义与影响,从而我们在现代壁画艺术创作实践中,能够把握住这开放的时代下文化交融的和谐与美感,能够巧妙吸收与运用外来文化,发扬我国的传统文化精神,这也正是现代壁画创作精神的关键所在。通过对敦煌壁画艺术的研究与学习,尝试着从敦煌壁画中所具有的多种文化血液的融合与发展变化中找到契合现代壁画艺术创作的宝贵经验,为今后的壁画艺术创作奠定良好的专业基础。
[Abstract]:The cultural long river of China has been spreading for thousands of years. Many amazing historical cultures have been found in the continuous exploration. The mural art of the Dunhuang Grottoes is the gem of the historical relics of our country. Before studying and studying the art of Dunhuang murals, the Chinese history has been closed to the ancient Chinese history. Fortunately, this record is in the middle of the record. The more than 1600 year old museum of culture changed my shallow view.
The art of Dunhuang Grottoes has gathered a variety of cultural factors. In Dunhuang, the art of grottoes has been ingeniously absorbed and used. We all know that the ancient culture of influence is from India, Greece, Islam and China. Fortunately, the four cultures have been merged and converged in China. Here, the art of Dunhuang has crossed the cultural differences, The difference of race, region and time and space is the important reason why its artistic charm has been inherited so far.
The main content of the mural art in Dunhuang is centered on the Buddhist culture. The Buddhist culture was circulated from India at that time. There are thousands of Dunhuang grottoes, all of which revolve around the Buddhist doctrines, and the Buddhist art is sublimated and fully displayed. This unified expression makes the Dunhuang Grottoes look very strong. At the same time, the Dunhuang mural art, while expressing the content of Buddhism, also painted a secular scene, portrayed the characters and learned from the culture of the western region. In the Western Wei Dynasty, there was an Indian image on one side in the grottoes of the Western Wei Dynasty and the big sleeves on the other side of the gowns. The image features of the Chinese people are different from each side. The contents of the four walls in the East, West, North and south of the Northern Wei Dynasty are all Buddhist cultural contents. Around the top of the grottoes, the Taoist culture and the Chinese traditional myth Nuwa are depicted. It can be seen that the Dunhuang grottoes are rich in content and varied in image, integrating the Chinese tradition and India Buddhism. At that time, we respected and moderate the absorption and application of foreign culture.
The style of the mural art of Dunhuang is more embodied in the absorption and fusion of foreign culture. The art of gimgiman gimgand is to show the theme of artistic creation in India by means of the ancient Greek style decoration techniques, and through the cultural exchange between China and the west, the artistic expression of gimgiman came to China, in the murals of Dunhuang, the stone in the northern cool period. There is a portrayed Bodhisattva in the grottoes, which is a very typical galand style. The wall of the Grottoes is also painted with a naked "flying sky" image, which is contrary to the traditional Chinese image and obviously influenced by the culture of the western regions. In the performance of Dunhuang mural, we have seen how to use the ingenuity of foreign culture and art in the performance of the local culture.
The color of the Dunhuang murals has gone through the baptism of more than 1600 years. It is no longer the original appearance, erosion, peeling, change and so on, which makes the Dunhuang frescos seem to have the aesthetic feeling of vicissitudes. But the color of the Dunhuang mural itself is rich and colorful, the picture is very powerful, it looks very strong visual tension and can cater for people. The aesthetic psychological needs of religious sentiment. Dunhuang frescos in the color of the screen, often the content and theme play a leading role, with a strong symbolic meaning. In ancient times, Chinese painting was called Dan Qing, "Dan Qing" was the main popular color at that time, of which five colors represented blue, yellow, red, white and black. The color development of Dunhuang mural painting has its complex evolution. First, in color and style of painting, different times, different social habits, the use of different colors in his flourishing period and other religious arts is the same as the symbol of the art of Dunhuang mural, it is especially obvious in the use of performance and color.
In itself, it has good color and symbolism to strengthen the spiritual content of the religious murals and highlight the symbolic characters of the theme. First, it is reflected in the painting style, different times, different social customs, and the different colors have their own form of green onions, which can be said to lead the trend for decades. Dunhuang The number of mural paintings, the wide area of the area, is an unprecedented art treasure, which has lasted for more than ten centuries and can be preserved so completely for posterity to appreciate or worship. We can imagine the blood of the ancients. The Dunhuang murals have been changed by different dynasties, and it can also be said to be its fate and political interest. The attitude of the rulers determines all aspects of the Dunhuang mural art, and the strong spirit of a country is directly proportional to the prosperity of the national power. By studying the art of the murals in Dunhuang, we can obviously observe that the art of the murals in Dunhuang shows the rise and fall of the Chinese dynasties, and the message of the history of civilization. Accurately and forcefully record every stage of the growth of Chinese civilization.
Since the Dunhuang grotto art has been discovered, many scholars have made a professional research on the mural painting. After looking up the research materials of the learning predecessors, through analysis and inference, the origin and origin of the history of the murals in Dunhuang, and its unique artistic charm and forming factors are discussed and analyzed, and around Dunhuang mural art The unique creativity of the art is to interpret the causes and characteristics of its style, and the effects of its language expression on the people's vision and psychology, and then discuss and discuss the important factors that the murals should have in the process of creation. The relationship is explored and the positive significance and influence of the ancient people in the creation of Dunhuang frescoes are expounded. In the modern fresco art creation practice, we can grasp the harmony and beauty of the cultural blend in this open era, and can ingeniously absorb and use the foreign culture and carry forward the traditional cultural spirit of our country. This is the key to the spirit of modern fresco creation. Through the study and study of the art of Dunhuang murals, we try to find the valuable experience of the modern fresco art creation from the integration and development of various cultural blood in Dunhuang murals, and lay a good professional foundation for the future art of wall painting.

【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K879.41

【引证文献】