浅谈中国佛教美术

浅谈中国佛教美术

1 摘要

在一千多年的中国山水画历史中，青绿(金碧)山水拥有正统山水画地位的时间是极其短暂的。这种山水画的成型期出现得很早，从史料记载和现存文物仿本来看，展子虔(传)即以勾勒填色画山水楼阁，其作品初现青绿山水画的雏形。及至盛唐李思训，已总结出有一套绘制金碧山水的成熟画法，元汤屋说他“画着色山水，用金碧辉映，为一家之法”(1)。到北宋，青绿山水画的创作达到了高峰期，这时名家辈出，出现了像王希孟《千里江山》这样成熟的作品。甚至被视为文人画开创者的苏轼，在观念上，对青绿山水画也是相当尊重的((2) o随着文人画观念的确立，青绿山水也渐失其辉煌局面。一方面，文人士子认为工笔青绿是匠人所为，斥其为不齿，使其在主流画坛渐失位置;另一方面，青绿山水在佛教文化里找到了最后的栖息地，并走入民间，成为现实的宗教和世俗生活中不可或缺的装饰。尽管明清及近代，文人画家中仍有青绿大家，但多半都是兼涉青绿，如文微明、沈周、仇英、董其昌等等，其创作也穿为小青绿，更确切地说，是淡着青绿的水墨山水画。曾向民间学习的仇英偶作大青绿，虽凝丽清新，却不复再有唐宋时期青绿山水的富丽辉煌和写实精神，实际上已被深刻地文人化了。至于民间画工，承袭传统，依剥画诀，创新不多，从艺术式样发展的角度看，青绿山水失去了其盛期的蓬勃生机。

关键词：中国，佛教，美术，研究；

Abstract

In one thousand years of Chinese landscape painting history, green ( layered )

with the orthodox position of landscape landscape painting time is very short. This

landscape painting molding period appears early, from the historical records and the

existing heritage imitation originally, Zhan Ziqian ( Biography) is to outline coloring

landscape pavilion, the works of early landscape painting form. When Tang Li Sixun,

has summed up a set of drawing Jinbi landscape mature drawing, Yuan Tang House 浅谈中国佛教美术

2 said he" colored landscape painting, with Jinbihuiying, as a law" ( 1). To the Northern

Song Dynasty, landscape painting reached a peak, then masters come forth in large

numbers, appeared as Wang Ximeng" a thousand miles of such mature works". Even

as a literati painting pioneer Su Shi, in concept, to the landscape painting is quite

respect (2 ) ( o with the establishment of the concept of literati painting, landscape is

losing its brilliant situation. On one hand, scholars and intellectuals believed that

Chinese green is the corner, accused him of not, make it in mainstream artists losing

position; on the other hand, the green landscape in the Buddhism culture to find the

last habitat, and walked into the folk, to become a reality in the religious and secular

life indispensable decoration. Although the Ming and Qing Dynasties and modern

painters, still green, but mostly and involving green, such as the twilight, Shen Zhou,

Chou Ying, Dong Qichang and so on, the creation of wear for green green, more

precisely, is pale green ink landscape painting. To learn even as big folk Chou Ying

green, although coagulation Li fresh, but no longer have the Tang and Song Dynasties

landscape brilliance PhotoREt and realistic spirit, had in fact been profoundly the

humanized. As for the folk tradition, with peeling paint, tactic, innovation is not much,

from the artistic style development point of view, landscape lost its flourishing period

of vigorous vitality.

Key words: China, Buddhism, fine arts, research;

目录

摘要 .................................................................................................................................................. 1

Abstract ............................................................................................................................................. 1

目录 .................................................................................................................................................. 2

引言 .................................................................................................................................................. 3

一、学术史简述 ............................................................................................................................... 4

1.1、金石著作、地方志的著录与考证 .................................................................................. 4

1.2、现代的调查发现与研究成果概述 .................................................................................. 4

1.3、佛教美术区域史研究的必要性及可能性 ...................................................................... 5

二、关于区域选定及相关问题的简要说明 ................................................................................... 5

2.1、关于区域选定的问题 ...................................................................................................... 5

2.2、关于“青齐”区域名称使用的说明 .............................................................................. 6 浅谈中国佛教美术

3 三、舟形背光立佛三尊式造像研究 ............................................................. 错误！未定义书签。

3.1、像因素研究 .................................................................................... 错误！未定义书签。

3.2、“双狮相向举爪”的母题 .............................................................. 错误！未定义书签。

3.3、“持莲供养人”的母题 .................................................................. 错误！未定义书签。

四、“蟠龙”的母题 ....................................................................................... 错误！未定义书签。

4.1、小引 ................................................................................................ 错误！未定义书签。