广元初盛唐时期佛像背光研究

发布时间：2018-04-22 08:53

本文选题：唐代 + 背光　；参考：《四川大学》2006年硕士论文

【摘要】：这是一篇研究广元初盛唐时期佛教造像背光的文章。佛教造像背光是佛教在中国发展的标志之一，，背光在图案的表现方面，为古代图案艺术创造了美的典范，成为中国图案艺术史上最辉煌灿烂的一页。作者通过赴广元千佛崖、皇泽寺实地考察研究，从千佛崖、皇泽寺的历史和唐朝时期政治、经济、文化对其影响的几个角度展开论述，从一个侧面研究初盛唐时期佛像背光的状态和特点。唐代是我国封建时期政治经济和文化发展的高峰，也是当时世界上最先进的国家之一。国家的统一，促进了封建经济文化的繁荣与发展。盛唐是我国古代文明光辉灿烂的时期，各种文化艺术在我国文化史上都达到了新的高度，在当时的世界文化领域，也处于领先的地位。佛像的装饰艺术作为佛教在中国发展的标志之一，代表了当时中国美术的最高水平，影响并推动了民间风俗艺术的兴起与繁荣。石窟艺术是中国文化在佛教美术中的集中反映。五代时期在政治上虽然分裂割据，但在文化方面却继续发展。石窟艺术在继承传统和不断吸收外来经验的基础上得到进一步发展。使得唐代的佛像背光装饰亦登上了前所未有的精美富丽的高峰。千佛崖、皇泽寺大量的唐代雕像为研究佛教造像背光及其背光的式样提供了非常好的资料。广元是中国佛教由北向南的传播枢纽，研究广元千佛崖、皇泽寺的佛像背光是探索整个唐代佛教背光在初唐、盛唐阶段的式样、风格的变化及其特征的一把钥匙，这有助于我们了解佛教造像装饰艺术和唐代背光图案式样的特点。证明了我国佛教艺术到了隋唐时代已达到高度发展阶段，呈现出绚丽多姿的艺术风姿。在调查四川广元唐代石窟的佛像背
[Abstract]:This is an article on the backlight of Buddhist statues in the early Tang Dynasty. The backlight of Buddhist statues is one of the symbols of the development of Buddhism in China. The backlight has created a beautiful model for the ancient design art and has become the most splendid page in the history of Chinese design art. Through the field investigation and study of Qianfoya and Huangze Temple in Guangyuan, the author discusses the history of Qianfoya, Huangze Temple and the influence of politics, economy and culture on the Qianfoya, Huangze Temple in Tang Dynasty. This paper studies the state and characteristics of the backlight of the Buddha statue in the early Tang Dynasty from one side. Tang Dynasty was the peak of political economy and culture development in feudal period of our country, and it was one of the most advanced countries in the world at that time. The unification of the country promoted the prosperity and development of feudal economy and culture. The prosperous Tang Dynasty was a glorious period of ancient civilization in China. All kinds of culture and art reached a new height in the cultural history of our country, and they were also in the leading position in the field of world culture at that time. As one of the symbols of the development of Buddhism in China, the decorative art of Buddha represented the highest level of Chinese art at that time, and influenced and promoted the rise and prosperity of folk custom art. Grottoes art is a concentrated reflection of Chinese culture in Buddhist art. Although the political division of the five dynasties, but in the cultural aspect has continued to develop. Grottoes art has been further developed on the basis of inheriting tradition and absorbing foreign experience. The Tang Dynasty Buddha statue decoration also mounted the unprecedented beautiful and rich peak. Thousands of Buddha Cliffs, Huangze Temple a large number of Tang Dynasty statues for the study of Buddhist statues and their backlight patterns provide very good information. Guangyuan is the transmission hub of Chinese Buddhism from north to south. Studying the back light of Buddha statues in Guangyuan Qianya and Huangze Temple is a key to explore the style, style and characteristics of Buddhism backlight in the early Tang Dynasty and the prosperous Tang Dynasty. This helps us to understand the decorative art of Buddhist statues and the characteristics of the Tang Dynasty backlight patterns. It proves that the Buddhist art of our country has reached a high level of development in Sui and Tang dynasties, showing a splendid artistic demeanour. An investigation of the Buddha's back in the Tang grottoes in Guangyuan, Sichuan
【学位授予单位】：四川大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：B948

【引证文献】