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艺术贵在创新,艺术的生命力也在创新;不消说,这创新是拾继承优良传统下的创新。作品缺乏新意,决不能算是精华之作,这道理,古今中外的任何艺术部门,无一不是如此,这是文化发展一定不移的规律。从全国佛教艺术史迹来看,大足宝顶造象群中的《十牧》组雕,便是创新的典型性遗例之一。这铺组雕场景,不是要放在封闭式的涧窟内,也不是布置在框架式的摩崖龛内。而是采用开放式,展示在长达将近30米像长卷那样的可以纵目眺望的露天场地上;而且选择在倾斜状的岩坡,便于人们对《十牧》组雕的全貌作一目了然的瞻望,获得一个总
Art is in the process of innovation, and the vitality of art is also being innovated. Needless to say, this innovation is an innovation under the tradition of inheriting fineness. The lack of new ideas in the works can never be regarded as the essence of this truth. All the art departments at any time and in all places are all the same. This is a certain law of cultural development. Judging from the historical monuments of Buddhism in the whole country, the group of “10 herd” carvings in the arch of Dazu Bao Ding is one of the typical examples of innovation. This group of carving scene scene, not to be placed in the closed cave, is not arranged in the framework of the cave niche. But the use of open-style, as long as nearly 30 meters in length like that can be overlooked open space on the site; and the choice of slope-like rocky slope, easy to people on the “ten herd” group carved picture for a glance at a glance, Get a total