论文部分内容阅读
在龙门石窟魏唐窟龛的相关壁面空间内,如洞窟额楣、佛龛平座、主像背光等结构性部位,往往以浮雕方式刻画了各式烘托主像的装饰性画面。这些浮雕作品,或以几何图画,或以卷草纹样,或以带有情节寓意的佛典故事场景,或以展示施主生活面貌的世俗剪影,为人们礼拜这一佛国道场提供着视觉读品的审美愉悦。不仅如此,相对于这种美术题材的典型设定来说,上述美术作品艺术形式的选取,则更加具有体现当年东西方文化交流样板载体的意义——古代雕刻家采用此前西方广为流行而带有“密体意致”的构图技法,为东方造型艺术的形式创新,提供了一个带有浓郁模型意义的示范文本。因此,透过龙门石窟这一文化遗产上述艺术遗迹的美学分析与探讨,人们不仅从物质生产视域体会到古代丝绸之路畅通时期东西方文化往来的密切,更能从意识形态视域感受到当年东方世界如何从西方美术模型中汲取了那里行之久远的审美取向,从而促进人们由物质生产层面跨越到精神生产层面来认识丝路交流对东西方社会文明沟通的历史价值。
In the relevant wall space of the Weitang Cave niche of the Longmen Grottoes, structural parts such as cave foreheads, niches and flat seats and the main image of the backlit often characterize the decorative images of the main images in relief. These reliefs offer a visual reading of the Buddha’s Dojo’s prayer offering with geometric drawings or patterns of flowers or scriptural scenes of Buddhist scriptures or secular silhouettes depicting the life of the donor Aesthetic pleasure. Moreover, compared with the typical setting of this kind of art theme, the selection of the art forms of the above art works embodies the significance of the model carrier of the East-West cultural exchanges that year - the ancient sculptors used the prevalent Western band There are composition techniques of “dense intension”, which provide a model text with strong model meaning for the formal innovation of oriental style art. Therefore, through the aesthetics analysis and discussion of the above artistic relics of the cultural heritage of Longmen Grottoes, people not only understand from the perspective of material production to the close contact between Eastern and Western cultures in the smooth flow of the ancient Silk Road, but also from the ideological horizon How Oriental World learned the long-standing aesthetic orientation from the Western art model so as to promote people’s understanding of the historical value of the Silk Road communication to the civilized communication between East and West from the material production level to the spiritual production level.