【作者】 刘颖；

【导师】 王玉峰；

【作者基本信息】 东北师范大学 ， 美术学， 2011， 硕士

【摘要】 中国的文化长河蔓延几千年,人们在不断的探索当中发现了许许多多令人惊奇的历史文化,敦煌石窟壁画艺术就是我国历史遗迹中的瑰宝。在没有研究学习敦煌壁画艺术之前,中国历史给我的印象是古板的是封闭的,幸好这座记录了中国一千六百多年历史的文化博物馆改变了我之前的浅薄看法。敦煌石窟艺术汇聚了多种文化因素,在敦煌都对它们进行了很巧妙的吸收与运用,我们都知道具有影响意义的古文化有来自印度、希腊、伊斯兰和中国,幸运的是这四个文化在中国得到了融合与交汇。在这里敦煌艺术跨越了文化的差异,种族的不同,地域以及时空的分别,这是它的艺术魅力得以传承至今的重要原因。敦煌壁画艺术的主要内容是以佛教文化为中心,佛教文化就是在当时从印度流传过来的,敦煌石窟有数以千计个,都是围绕佛教教义的内容,把佛教艺术升华化,并且很完整表现出来,这种统一的表现内容使得敦煌石窟看上去十分的壮观,并且让去到过那里欣赏研究的人们为之而震撼。敦煌壁画艺术在表达佛教内容的同时,也画有世俗的场景,对人物的描绘形形色色,借鉴了来自西域的文化,西魏时期的洞窟中就有一边是坦胸露体的印度人形象,另一边是长袍大袖的中国人形象,两边的形象特点各不相同。北魏的洞窟内东西南北四壁的内容都是佛教文化内容,在窟顶四周,则描绘道教文化以及中国传统神话女娲等题材。可见敦煌石窟中的内容丰富,形象多种多样,融合了中华传统与印度佛教,由此可见当时我们对外来文化在吸收与运用时,是尊重与适度的。敦煌壁画艺术的风格表现上更多的体现了对外来文化的吸收与融合。所言的犍陀罗艺术就是借助来自古希腊式的装饰手法去表现印度的艺术创作题材,通过中西文化交流,犍陀罗的艺术表现方式来到了中国,敦煌壁画中,北凉时期的石窟中有描绘的交脚菩萨,那种表现方式就是非常典型的犍陀罗风格的造型。石窟的墙壁上还绘有裸体的“飞天”的形象,这与中国传统的形象是截然相反的,很显然也是受到了西域文化的影响。有的还借助了天竺画明暗式的画法结合中国传统的晕染法,两者相互融洽,互为补充。在敦煌壁画的表现中我们看到了如何在发扬本土文化的同时又吸收运用外来文化艺术的巧妙之处。敦煌壁画的颜色经历了一千六百多年的洗礼,已经不再是当初的样子,侵蚀、剥落、变化等原因,使得敦煌壁画看起来具有沧桑的美感。但是敦煌壁画本身的色彩是丰富多彩的,画面很有冲击力,看上去具有很强的视觉张力,能够迎合人们宗教情绪的审美心理需要。敦煌壁画在画面设色方面,往往是内容和主题在起着主导作用,具有很强的象征意义。我国古时候,绘画被称为丹青,“丹青”的意思是当时主要流行的颜色,其中有五种颜色代表,有蓝色,黄色,红色,白色和黑色。敦煌壁画的颜色发展,有其复杂的演变,首先,在色彩和对绘画的风格,不同时代,不同社会习惯使用,使用不同颜色的形式在他的茂盛时期和其他宗教艺术一样是表现为敦煌壁画艺术的象征,它在性能和色彩的运用尤为明显,壁画本身就具有良好的色彩,以象征性,加强了宗教壁画的精神内容,突出表现了主题的象征性人物。首先,体现在绘画风格,不同时代,不同的社会习俗,让不同的颜色有其自身的形式出现郁郁葱葱的时期,可以说是领先了几十年的趋势。敦煌壁画数量之多,面积之广,是亘古未有的艺术宝藏,历时了十个世纪以上,也能够如此完整地保存下来,以此供后人欣赏或膜拜,其中古人的心血我们可想而知。敦煌壁画历经不同的朝代都有着不同的变化,也可以说是它的命运与政治息息相关,统治者的态度决定着敦煌壁画艺术的方方面面,一个国家精神上强盛与国力的兴旺是成正比的,这一点,我们通过研究敦煌壁画艺术可以显而易见的观察到。敦煌壁画艺术表现着中国历朝历代的兴衰面貌,传达着历史的文明讯息,准确而有力的记录着中华文明的成长每一个阶段。敦煌石窟艺术自从被发现以来,有很多学者对壁画方面进行了专业性的研究,我在查阅学习前辈的研究资料后,通过分析和推论,对敦煌壁画历史的来龙去脉、和它独有的艺术魅力以及形成因素进行浅显的探讨和分析,围绕敦煌壁画艺术独特的创造性,去解读其风格的形成原因以及特点,和它的语言表现方式对人们的视觉和心理所产生的效应,从而对壁画在创作过程中所应具备的重要因素展开探讨和论述。对现代壁画在创作过程当中如何去把握画面的整体协调对应关系进行探索,阐述了古人在创作敦煌壁画的时“中西合璧”的积极意义与影响,从而我们在现代壁画艺术创作实践中,能够把握住这开放的时代下文化交融的和谐与美感,能够巧妙吸收与运用外来文化,发扬我国的传统文化精神,这也正是现代壁画创作精神的关键所在。通过对敦煌壁画艺术的研究与学习,尝试着从敦煌壁画中所具有的多种文化血液的融合与发展变化中找到契合现代壁画艺术创作的宝贵经验,为今后的壁画艺术创作奠定良好的专业基础。更多还原

【Abstract】 River spread of Chinese culture for thousands of years, people were found in the continuous exploration of the many amazing history and culture, the Dunhuang murals and art is in our historical treasures. In the absence of prior research study of Dunhuang mural art, Chinese history, gave me the impression that the old-fashioned is closed, but fortunately this sixteen hundred years of recorded history the Chinese culture before the museum changed my shallow view.Dunhuang grotto art brought together a variety of cultural factors, in Dunhuang are very clever of them the absorption and use, we all know that the ancient culture has a significant influence from India, Greece, Islam, China, fortunately, the four Culture in China have been fused with the intersection. Here Dunhuang art across cultural differences, ethnic differences, geographical and temporal difference, which is its charm has been a major cause of transmission. Murals of the Buddhist culture is the main center of Buddhist culture that is spread from India over time, thousands of Dunhuang Grottoes were, all about the content of the Buddhist teachings, the Buddhist art of sublimation, and very complete performance out the contents of this unity makes the performance looks very spectacular caves, go over there and let people appreciate the worth of the shock. Murals of the content in the expression of Buddhism, but also painted secular scenes, depicting all kinds of characters, borrowed from the Western culture, Western Wei period of one side is the cave in there topless image of naked Indians, and the other one side is the big sleeves of Chinese robes image, the image of both sides of different features. Northern Wei within the East and West walls of the cave’s contents are the contents of Buddhist culture in the Grottoes around, depict traditional Chinese culture and Taoist Goddess mythology and other topics. Can be seen in the Dunhuang Grottoes rich content, the image of diverse blend of traditional Chinese and Indian Buddhism, we can see that we were in the absorption of foreign culture and the use of time, is the respect and modest.Murals of the style of performance reflects more the absorption of foreign culture and fusion. Said the Gandhara art is from the ancient Greek style with decorative approach to the theme of the performance art of India, through cultural exchange, artistic expression came to Gandhara to China, the Dunhuang frescoes in the caves during the Northern Liang are depicted in cross-foot Buddha, the kind of expression is a very typical style of the Gandhara style. Grottoes nude painted on the walls of the "Flying" image, which is the traditional image of the opposite, it is obviously also by the Western culture. Some of them painted with the Tianzhu combination of light and dark style of traditional Chinese painting gradation method, the two mutually harmonious and complementary. The performance of the Dunhuang murals we can see how to promote the local culture at the same time absorbing the use of foreign culture and art trick. The color of Dunhuang murals experienced the baptism of sixteen hundred yearsis no longer the original appearance, erosion, flaking, changes and other reasons, making the Dunhuang frescoes appear to have tremendous beauty. However, the color of Dunhuang mural itself is a colorful, picture is very impact, looks a strong visual tension, to cater to people’s aesthetic psychological needs of religious sentiment. Dunhuang murals and color on the screen, the content and themes often plays a leading role, has a strong symbolic meaning. In ancient times in China, painting is known as Dan, "Dan-" means that the color was mainly popular, including representatives of five colors, blue, yellow, red, white and black. The color development of Dunhuang murals, has its complicated evolution, first of all, in color and painting style, different times, different social practices used in the form of a different color in his lush, like periods and other religious art is expressed as the Dunhuang frescoes art of the symbol of performance and especially the use of color, murals itself has a good color to the symbolic, to strengthen the spirit of the content of religious paintings, the most prominent theme of the symbolic figure. First of all, reflected in the painting style, different times, different social customs, so that different colors have their own form of lush period, can be said to be leading the trend for decades. Sheer number of Dunhuang murals, area covered, and is not the art of ancient treasures, which lasted more than ten centuries, and can so completely preserved for posterity as appreciation or worship, which the ancients and the hard work we can thinkknown. Dunhuang murals of different dynasties all have gone through different changes, it can be said that its fate and politics are closely related to the attitude of the ruler determines all aspects of Murals, a strong national spirit and national prosperity is directly proportional to the that we can Murals by studying observed obvious. Murals of the performance of China’s rise and fall of dynasties face to convey a message of civilization history, accurate and powerful record of the Chinese civilization at every stage of growth.Dunhuang grotto art Since its discovery, there have been many aspects of the scholars of the murals professional research, I have access to research information to learn their predecessors, through analysis and inference, the circumstances surrounding the history of the Dunhuang murals, and its unique artistic charm form factors, and plain discussion and analysis around the Murals of the unique creative, to interpret the causes of its style and features, and its language expressions on people’s visual and psychological effects produced, and thus in the creation of the mural in the process should have started to explore and discuss important factors. Modern murals in the process of how to take creative pictures to explore the overall coordination of correspondence, describes the ancient Dunhuang fresco in the creation of time, "Western" and the impact of positive significance to our mural art in modern practice, foreign culture, carrying forward the spirit of China’s traditional culture, modern mural painting which is the key to the spirit. Murals by research and learning, try to have from the Dunhuang frescoes in the integration of a variety of cultures and the development and changes of blood found in the modern fit the valuable experience of mural art, mural art for the future of professional lay a good foundation .更多还原