河北正定隆兴寺摩尼殿壁画造型研究

发布时间：2018-05-05 08:39

本文选题：正定 + 隆兴寺　；参考：《沈阳大学》2016年硕士论文

【摘要】：在中国美术史中壁画的研究举足轻重,佛教壁画更是我国绘画艺术的瑰宝。佛教及佛教绘画传入我国吸纳中国本土文化,经过历史的沉淀产生了独特的佛教绘画。文中所研究的正定隆兴寺摩尼殿建于北宋皇yP四年,大殿内槽九间均为佛坛,三面砌墙,内壁绘制有佛教人物,佛坛后壁背面通塑五彩悬山,休闲自若的观音安然坐于山中窟龛内,俗称“倒坐观音”。其余内壁彩绘壁画,内容有佛教尊像画,主要为表现佛陀说法的“西方胜景”和“东方净琉璃世界”、经变画、佛教故事、表现释迦摩尼一生的“释氏源流”。正定县文物保管所工作人员经过实地测量考察,原壁画面积是528平方米,由于墙体坍塌和墙皮苏碱、脱落、空鼓,目前尚存387平方米。文章对于壁画的分布内容作了概括阐述,着重分析绘画的造型特色和人文理念。采用实地调查、文献参考和对比分析的方法对不同时期、不同地域壁画造型进行考证和对比研究,阐述摩尼殿壁画人物造型的时代特征,进而说明传统造型理念在当代中国人物画创作中具有重要意义。河北正定摩尼殿壁画绘制于明代,造型风格具有一定的时代特色,在人物的造型上倾向世俗化风格,佛教神仙的形象不似从前的严肃庄重,人物造型多了些许人间“温度”,内心表情更为丰富,造型越加自由灵动,呈现出极富地域特征的明代壁画语言。其造型元素沉浮着独特的艺术魅力,是特定时代背景下的人文理念和表现元素的个性指向,使该壁画为研究我国传统绘画造型的发展和文化脉络提供了重要的实物依据。摩尼殿壁画造型特色体现了明代文化精神和审美倾向,这些手法所创造出的经典艺术作品也在潜移默化中影响着我们民族的艺术特质和人文理念。中国古代壁画造型的审美讲求“神”的表现,在造型上更尊重创作者内心的感受,形象塑造不求与自然形象的视觉直观相似,在形象上更加自由夸张,尊重自我,追求意境的表达,对形象、主题的“神合”、“神会”之体味。它熔铸在理想化和感情化的艺术表现之中,对自然物象和个人情感以及审美理念进行熔炼,使其独具特色,源于自然而高于自然,能够给观者以充分的联想产生共鸣。本课题通过对摩尼殿壁画造型的研究分析,通过对其人物造型精神内质的论证,力求探寻摩尼殿壁画独特的造型特征和人文理念的关系。思考“造型”在当代中国人物画创作和作品应用中的积极意义。
[Abstract]:The study of fresco plays an important role in Chinese art history, and Buddhist mural painting is the treasure of Chinese painting art. Buddhism and Buddhist painting were introduced into our country to absorb Chinese native culture, resulting in unique Buddhist painting through historical precipitation. The Moni Temple in Zhengding Longxing Temple was built in four years by Emperor YP in the Northern Song Dynasty. Nine grooves in the main hall are Buddhist altars, three walls are built, Buddhist figures are painted on the inner wall, and the back wall of the Buddhist altar is covered with plastic multicolored hills. Leisure-like Guanyin sitting in the cave niches in the mountains, commonly known as "sit upside down Guanyin." Other painted murals on the inner wall contain Buddhist statues, mainly for the "Western scenery" and "the Oriental net glaze World", which represent the Buddha's view, the Buddhist story and the "source of the Shih" of Sakyamuni's life. The original mural area is 528 square meters, due to wall collapse and wall skin soda, falling off, empty drum, existing 387 square meters. In this paper, the distribution of murals is summarized, with emphasis on the modeling features and humanistic concepts of painting. By using the methods of field investigation, literature reference and comparative analysis, this paper makes textual research and comparative study on the murals of different periods and different regions, and expounds the characteristics of the era of the figures in the murals of the Mani Temple. Then it shows that the traditional modeling idea is of great significance in the contemporary Chinese figure painting creation. The murals of Mani Temple in Zhengding, Hebei Province, were painted in the Ming Dynasty. The style of modeling has certain characteristics of the times. In the style of characters, they tend to be secularized. The image of Buddhist gods is not as serious as it was in the past, and the figures have a little more "temperature" in the world. The inner expression is more abundant, the shape is more and more free, presents the extremely rich region characteristic Ming Dynasty murals language. The unique artistic charm of its modeling elements is the humanistic idea and the personality direction of the performance elements under the specific background of the times, which makes the murals provide an important material basis for the study of the development and cultural context of Chinese traditional painting modeling. The style features of the murals of the Mani Temple reflect the cultural spirit and aesthetic tendency of the Ming Dynasty. The classical works of art created by these techniques also influence our national artistic characteristics and humanistic ideas in a subtle way. The beauty of Chinese ancient murals emphasizes the expression of "God", respects the inner feelings of the creators in the modeling, does not seek to be similar to the visual intuitionistic of the natural images, and is more free and exaggerated in the image, and respects the self. Pursuit of artistic conception, image, theme of "God", "God will" taste. It melts in the artistic expression of idealization and emotion, melts the natural image, personal emotion and aesthetic idea, makes it unique and originates from nature and is superior to nature, and can resonate with the viewer with full association. Through the research and analysis of the murals of the Mani Temple and the demonstration of the spirit of its characters, this paper tries to explore the relationship between the unique features of the murals and the humanistic ideas. Thinking about the positive significance of "modelling" in the creation and application of contemporary Chinese figure painting.
【学位授予单位】：沈阳大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：K879.41;J218.6

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