佛教对中国早期青绿山水画的影响

发布时间：2019-06-15 02:58

【摘要】：山水画作为中国传统绘画中一个重要门类，其发生发展历经了一千余年的时间。青绿山水画作为中国早期山水画发展的主要线索在整个山水画史中停留短暂，但究其历史意义与艺术地位都是我们研究传统山水画中所不能忽视的。青绿山水的发生、发展都是与环境、背景、人文因素的分不开的。追溯其源头，现世所存绘画遗迹甚少，，但是在西部地区保留完好的佛教艺术中，无论是早期龟兹地区石窟壁画还是早期敦煌壁画都可探寻到青绿山水的遗迹。早期西域青绿山水的艺术表现形式皆与我们现今能考据的东晋顾恺之的《洛神赋图》的山水画相呼应，其共同之处是山水元素皆作为人物、故事的背景地位所存在。直至隋代展子虔的卷轴山水画《游春图》的出现，我们有据可依的视其为青绿山水雏形的里程碑。盛唐时期成为当时山水画典范的李氏父子的青绿山水画是其发展成熟的标识。与此同时唐王维文人山水画渐兴也预示着至宋代王希孟《千里江山图》，青绿山水画发展的极盛渐衰之势。探索青绿山水画初成之源，笔者通过对大量文史、典籍等资料认为，现存于我国西部地区的大量石窟、洞穴壁画，其考据价值就在于其以历史时期为纵线向我们直观地呈现出了绘画史乃至山水画史的变迁。当然，不容忽视的一点是这些石窟壁画多以宗教传播的载体而存在。使我们不禁联想到地处西部自古文明的“丝绸之路”，以佛教传播为主的宗教东进正是由此区域展开的。外来的文化艺术势必通过交流对本土艺术形成冲击和融合。而本文旨在分析佛教东进过程中与青绿山水成为中国早期山水画主要表现形式的关系和影响。通过对印度佛教艺术特点、我国西域佛教艺术以及岁佛教传入后中国绘画艺术的面貌进行试析，大胆推测青绿山水画的形成和发展在很大程度上是受到了佛教传入的机缘和早期佛教艺术的巨大影响。本文试通过一下几个方向探其发展源头，究其现状的成因：一、简述中国青绿山水画发展历史；二、以佛教传入为切入点，概括早期佛教艺术的观念、形式及其表现方法，佛教传入后的本土化对文化艺术的影响；三、分析佛教艺术对中国早期青绿山水影响，简述印度阿旃陀石窟壁画、新疆龟兹石窟壁画群、敦煌莫高窟壁画群的表现形式（以色彩观为主线）及对当时中原地区文化艺术的影响。
[Abstract]:Landscape painting as an important category of traditional Chinese painting, its occurrence and development has gone through more than a thousand years. As the main clue of the development of early Chinese landscape painting, green landscape painting stays for a short time in the whole history of landscape painting, but its historical significance and artistic status can not be ignored in our study of traditional landscape painting. The occurrence and development of green mountains and rivers are inseparable from the environment, background and human factors. Tracing back to its source, there are few painting relics in the present world, but in the Buddhist art preserved well in the western region, both the early Grottoes murals in Kuizi area and the early Dunhuang murals can explore the relics of green mountains and rivers. The artistic forms of the green mountains and rivers in the early western regions all echo the landscape paintings of Gu Kaizhi in the Eastern Jin Dynasty, which can be examined by Gu Kaizhi in the Eastern Jin Dynasty. What they have in common is that the landscape elements all exist as characters and the background status of the story exists. Until the appearance of the scroll landscape painting "Spring Map" in the Sui Dynasty, we can regard it as a milestone in the rudimentary form of green mountains and rivers. The green landscape painting of Li's father and son, which became a model of landscape painting at that time in the prosperous Tang Dynasty, is the symbol of its development and maturity. At the same time, the gradual rejuvenation of Tang and Wang Wei literati landscape painting also heralded the prosperity and decline of the development of green landscape painting by Wang Ximeng in Song Dynasty. To explore the origin of green landscape painting, the author holds that the textual value of a large number of grottoes and cave murals existing in the western region of our country lies in the fact that it intuitively presents the history of painting and even the history of landscape painting to us in the historical period. Of course, it can not be ignored that most of these grotto murals exist as the carrier of religious transmission. It makes us think of the Silk Road, which is located in the western civilization since ancient times, and it is from this region that the religion, which is mainly spread by Buddhism, develops eastward. Foreign culture and art is bound to form an impact and integration of local art through exchange. The purpose of this paper is to analyze the relationship and influence between Buddhism and green landscape becoming the main manifestation of Chinese landscape painting in the process of eastward progress. Based on the analysis of the characteristics of Indian Buddhist art, the Buddhist art in the western region of China and the appearance of Chinese painting art after the introduction of Buddhism at the age of age, it is bold to speculate that the formation and development of green landscape painting is greatly influenced by the opportunity introduced by Buddhism and the early Buddhist art. This paper tries to explore the source of its development through several directions, and the causes of its present situation: first, briefly describe the development history of Chinese green landscape painting; second, take the introduction of Buddhism as the starting point, summarize the concept, form and expression method of early Buddhist art, and the influence of localization on culture and art after the introduction of Buddhism; Third, this paper analyzes the influence of Buddhist art on the green mountains and rivers in early China, and briefly describes the forms of expression of Indian Ajanda grottoes murals, Xinjiang Kuizi grottoes murals, Dunhuang Mogao grottoes murals (with color view as the main line) and their influence on the culture and art of the Central Plains at that time.
【学位授予单位】：贵州师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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