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西域藝術風尚與洛陽中古石刻美術之互動=The Interplay between the Art of the Western Regions and the Chinese Art in the Medieval Period: The Case of the Stone Art in Luoyang |
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| 著者 |
張乃翥 (著)=Zhang, Nai-zhu (au.)
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| 掲載誌 |
華林國際佛學學刊=Hualin International Journal of Buddhist Studies
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| 巻号 | v.1 n.2 《佛教藝術》專刊 |
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| 出版年月日 | 2018.10 |
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| ページ | 258 - 316 |
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| 出版者 | World Scholastic Publishers |
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| 出版サイト |
http://www.worldscholastic.com/
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| 出版地 | Singapore [新加坡] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位: 龍門研究院 |
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| キーワード | 洛陽=Luoyang; 絲綢之路=Silk Road; 文化交流=Cultural communication; 密體意致=exotic aesthetics; 石刻藝術=stone art |
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| 抄録 | 文物遺跡的系統考察顯示，在兩漢以降西方美術時尚東漸漢地的過程中，東方藝術之接納西域文化首先是從美術題材的汲取與創作技巧的消化開始的。期間出現于漢地文化圈石刻裝飾藝術中的美術題材，諸如千佛圖、飛天、伎樂天人、蓮花、神異動物等等佛教藝術樣本，及卷草紋、連珠紋、忍冬紋、水波紋、幾何紋、其他禽獸紋樣、神異動物紋樣等等西域世俗藝術樣本，都是異域文化題材移植東方的結果。而摻雜其中的四神、十二生肖等漢地傳統 紋樣，則體現出東方美術創作採用西域表現技法的情勢。
以洛陽石刻文物實例為線索，我們的研究結果表明，這類呈現出濃鬱“密體意致”的美術作品，充滿了域外文化情調的審美意境。它們貫穿于魏晉- 盛唐之際包括宗教和世俗美術在內的一代主流造型藝術的創作實踐中，從而形成此間中原乃至中國美術格調的主流時尚。
這樣看來，西域具有“密體意致”的美術傳統，對於亙久以來 漢地“寬鬆律度”美術模式的衝擊，正是東方審美世界裏文化取向的動態轉移。
Archaeological research reveals that after the Han Dynasty (202 B.C.E.–220 A.D.), as the art from the Western Regions gradually shifted eastward, China started to accept this influence by assimilating themes and techniques of the ‘Western’ art. Among the stone-carved decorative arts in the Chinese cultural sphere, we find such Western Buddhist elements as the Thousand Buddhas, flying celestials, heavenly music performers, lotus and mythical creatures, as well as Western secular graphic patterns, such as plant-scrolls, bead pattern, honeysuckle pattern, ripple pattern, geometric pattern as well as animal pattern and mythical creature pattern. These elements attest the implantation of the foreign art in the Chinese art. Moreover, these Western elements blend in with the traditional Chinese elements such as the Four Gods or the Twelve Zodiacs, showing the proclivity at the time to mix the South and Central Asian artistic techniques with their Chinese counterparts. This article focuses on the stone art in Luoyang and observes that these artworks are marked by their elaborate details and a sense of gracefulness, which is a reflection of the exotic aesthetics of the Western Regions. Such style has apparently become part of the mainstream artistic style in China, either in religious or secular art, during the Northern and Southern Dynasties (220–589) and the heyday of the Tang Dynasty (618–907). In other words, this style has become mainstream in China. This phenomenon bespeaks the dynamical transition that the Eastern aesthetics underwent, as the regulated and plain style of the Chinese art was challenged by the elaborate and graceful style from the Western Regions. |
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| 目次 | 一、中國傳統美術造型風格的簡要回溯 259
二、中古時期漢地造型美術的風格突變 260
三、西域早期美術風尚的考察 271
四、中古漢地造型藝術“密體意致”的主流時尚 275
1. 卷草紋樣（Anthemion） 285
2. 禽獸紋樣（Birds and beasts motif） 289
3.“格裏芬（griffin）”紋樣 293
4. 忍冬紋（acanthus design）及其它西域石刻紋樣 299
5．漢地傳統題材的石刻紋樣 300
五、“資源分配律”視野下的一個永恆的審美話題 306
參考文獻 303 |
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| ISSN | 27050742 (P) |
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| DOI | 10.6939/HIJBS.201810_1(2).0008 |
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| ヒット数 | 408 |
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| 作成日 | 2021.03.03 |
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| 更新日期 | 2021.03.19 |
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