北魏石窟造像中的“飞天”形像演变研究

发布时间：2018-04-10 15:50

本文选题：飞天 + 北魏　；参考：《云南艺术学院》2017年硕士论文

【摘要】：石窟造像艺术最初起源于古印度,在佛教石窟造像艺术传入中国后,其自身原本所具有的异域特色便逐渐消退,开始依附于中国文化而生存。此时,佛教石窟造像艺术中最具代表性的“飞天”形像也开始愈发趋于中国化。到了北魏中晚期,石窟中“飞天”形像的风格急剧变化,从而形成了以面部消瘦、颈部修长、衣薄贴体、体态清瘦为特点的形态。这种特点的形成得益于北魏王朝在孝文帝改革后对汉文化的学习,所以南朝的褒衣博带之风与秀骨清像之貌的审美风尚也就很快的被北魏的鲜卑人所接受。因此,这一时期的南北民族大融合与胡汉文化大交融,也加快了北魏时期“飞天”形像中国化的脚步。
[Abstract]:Grottoes art originated in ancient India. After Buddhist grottoes art was introduced into China, its original exotic features gradually disappeared and began to live on Chinese culture.At this time, Buddhist grottoes in the art of the most representative of the "Flying" image began to become more and more Chinese.By the middle and late period of the Northern Wei Dynasty, the style of "flying sky" in the grottoes changed dramatically, thus forming a form characterized by facial thinness, long neck, thin clothing and thin body.The formation of this characteristic benefited from the Northern Wei Dynasty after the reform of Emperor Xiaowen to study the culture of Han, so the Southern Dynasty's style of appreciation of clothes and the appearance of the aesthetic style is quickly accepted by the Northern Wei Xianbei people.Therefore, the great fusion of north and south nationalities and Hu-Han culture in this period also quickened the "flying sky" image in the Northern Wei Dynasty.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：K879.3;J709.2

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