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1、唐代佛教植物装饰纹样研究 唐代佛教植物装饰纹样研究 【摘要】 佛教植物纹样装饰艺术是印度佛教在传播过程中逐渐形成的一种重要文化现象,并在印度佛教进入中国之后不断发展演变,到唐代时达到鼎盛,成为佛教中国化的有机组成部分,从而既在佛教文化历史上留下浓厚的一笔,也在中印文化交往进程中占有不可忽视的地位,值得认真研究。本文通过历史学、宗教学、考古学、艺术学等方法,对唐代佛教植物装饰纹样的转型、特征及其历史渊源与后世影响等问题进行分析,试图把握唐代佛教植物纹样装饰艺术的演变进程、文化内涵与历史作用,为揭示佛教艺术与社会以及与哲学思想、宗教解脱、文明交往等诸多关系提供有益的借鉴。本文第一章借助遗留在犍陀罗
2、、马土腊、阿马拉瓦蒂各个不同地区的孔雀王朝、贵霜王朝、巽伽王朝、笈多王朝等各个时期佛教植物装饰纹样的典型遗物,探讨了古代印度传统的佛教植物装饰纹样,并分析了印度民族在装饰领域的独特审美倾向及其在佛教和印度教中的不同体现。这是唐代佛教植物纹样装饰艺术的异域渊源。本文第二章通过对佛教传入东土之前中国传统的装饰纹样和佛教传入后到唐代之前佛教植物装饰纹样的分别论述,特别是对南北朝时期忍冬纹和莲花纹这两种典型佛教植物装饰纹样的论述,说明唐以前中国佛教植物纹样装饰艺术的基本特性,并揭示当时中外文明交往的一个基本特性,即印度的装饰艺术作为父体的基因细胞,而深厚的中华文明则始终是孕育和塑造某种新生艺术的母体温
3、床,中印文明的这种交往格局决定了唐以前佛教植物纹样装饰艺术的基本历史进程与文化个性。本文第三章分析集中探讨唐代佛教植物装饰纹样的转型及特征,首先对唐代佛教植物装饰纹样转型的社会和文化背景进行说明,其次对唐代佛教植物装饰的典型纹样即卷草纹和宝相纹的出现和应用情况进行研究,接着从总体上对唐代佛教植物装饰纹样的转型,将其划分为摹仿、组合、创新三个阶段,最后再对唐代佛教植物装饰纹样的基本特征进行把握,总结出题材的多样性、造型的写实性以及风格的富丽饱满和灵活多样等特征。本文的第四章分析唐代佛教植物纹样装饰艺术对中国植物纹样装饰艺术创作理论、创作技巧以及国人审美趋向等方面的影响。本文认为,佛教传入中国后一
4、直到唐代,由于大量的外来艺术样式的参与,极大地丰富了中国纹样装饰艺术的题材,使纹样装饰艺术的创作理论得到了发展,创作技巧也有了划时代的进步。由此形成的唐代佛教植物纹样装饰艺术对国人审美趋向也产生了深刻的影响。本文的结语部分是在总结以上研究的基础上提出关于艺术发展以及中印文化交往的一些基本认识。本文认为,流传在不同文化圈中的任何艺术样式,在相互交往过程中发生民族化和本土化是其必然的趋势;任何艺术样式的形成都有来自各个不同方面的复杂因素,除了外来文明的有力影响外,本土文明的基础作用更不容忽视;再者,还有艺术按其自身发展规律而发生的嬗变。所有这些都体现了唐代佛教植物装饰纹样背后所蕴涵的文化性、时代性
5、、流变性以及文明交往中的对话与融合等多种重要特性。【Abstract】 Decorative arts of plant patterns in Buddhism are important cultural phenomenon which gradually formed during the process of Indian Buddhisms dissemination, undergoing continuous development and evolution Buddhism after Indian Buddhism entered in China, reaching i
6、ts peak in the Tang Dynasty, and became an integral part of the Sinicization of Buddhism. This way, while it not only has an important affection in the buddhist culture history, but also shares the process of status in the cultural exchanges between China and India, which can not be ignored. So it i
7、s worth studying.In this paper, the author analyzed the transformation, characteristics and historical origins of decorative patterns of plants in Buddhism in Tang Dynasty through the methods of history, religion, archeology, and art etc, trying to grasp the evolution process, the role of cultural a
8、nd historical connotations of decorative arts of plant patterns in Buddhism in Tang Dynasty, in order to provide useful references for revealing relations between buddhist art and society, philosophy, religion free, civilization contact and so on.In the first chapter, the author studied the traditio
9、nal decorative patterns of plants and analyzed unique aesthetic tendency of the Indian nation in the field of decoration as well as its different embodiment in Buddhism and Hinduism through the typical relics of decorative patterns of plants in Buddhism left in all different parts of Gandhara, Mathu
10、ra, Amaravati of different period in ancient India, such as the Phoenician Dynasty, Kushan Dynasty, Sunda kingdom Galerkin, Gupta period and so on, which is the exotic origin of decorative patterns of plants in Buddhism in Tang Dynasty.In the second chapter, the author illustrated the basic characte
11、ristics of decorative arts of plant patterns in Buddhism of China before the Tang Dynasty, and revealed the basic characteristics in the civilization contact between China and foreign countries, through describing traditional decorative patterns in China before Buddhism was introduced in East territ
12、ory and decorative patterns of plants in Buddhism after Buddhism was introduced, before the Tang Dynasty, especially Honeysuckle and lotus pattern in the Northern and Southern Dynasties, the two typical of decorative plant patterns in Buddhism, which is to say that Indian decorative arts is a parent
13、 cell body, and profound Chinese civilization is a hotbed nurturing and shaping some kind of new arts, this configuration of civilization contact between China and India determines the basic historical process and the cultural personality of decorative arts of plant patterns in Buddhism before the T
14、ang Dynasty.In the third chapter, the author focused on the analysis of the transition and characteristics of decorative patterns of plants in Buddhism in Tang Dynasty. Firstly, the author described the social and cultural background for the transition of decorative patterns of plants in Buddhism in
15、 Tang Dynasty, that are sroll design and Po-phase pattern; secondly, the author studied the emergence and application of the typical patterns decorative patterns of plants in Buddhism in Tang Dynasty, then divided the period of transformation of decorative patterns of plants in Buddhism in Tang Dyna
16、sty into three stages: imitation, combined and innovation, finally, the author grasped the basic characteristics of decorative patterns of plants in Buddhism in Tang Dynasty, summed up the features such as the diversity of subject, the realism of modeling, rich and flexible of style, etc.In the forth chapter, the author analyzed the affection of decorative arts of plant patterns in Buddhism in Tang Dynasty Buddhist on the theory of artistic creation, creative skills, an
