论文部分内容阅读
观音像在我国佛教造像中的所占比重极大,而且多为寺院壁画。现存的中国古代观音壁画绝大多数是以勾勒精细、赋彩浓丽的表现形式出现。水墨这一绘画形式,作为唐代以后文入画的惯常绘画手法极少出现在寺观壁画中。丛林寺二十四幅水墨观音壁画,无论在表现题材、形式和手法还是在画面结构等方面,都大异于传统的寺院壁画。作者突破此类壁画常规的表现手法,使用了纯水墨勾勒、点、染;在题材选择和画面布局上也是匠心独运,从技法到图式无不表现出典型的文人画特点。
Guanyin in Buddhist statues in our country accounted for a large proportion, but mostly for the monastery murals. The vast majority of existing ancient Guanyin frescoes in China appear as elaborately colored and richly colored forms of expression. Ink and wash this form of painting, as the Tang Dynasty after the introduction of painting into the painting practices rarely appear in Temple murals. Conglin Temple 24 ink Guanyin murals, both in terms of performance themes, forms and techniques or in the picture structure, are different from the traditional monastery murals. The author breaks through the performance of such mural conventions, using the pure ink outline, point, dye; in the subject matter selection and screen layout is also imaginative, from the technique to the schema all typical characteristics of literati painting.