中国文化对日本飞鸟奈良时期审美观的影响
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摘要
在日本文化史上,飞鸟奈良时期是日本全面摄入中国文化的高峰。伴随着佛教的传入,中国的六朝佛教美术与盛唐文化移植到了日本。在中国文化的影响下,日本的造型艺术与审美意识实现了跨越式发展。飞鸟白凤佛教美术散发着六朝余韵,天平美术确立为日本的"古典美",奈良文学模仿中国文学的形式。日本文化与高度发达的中国文化之间存在巨大的发展落差,这是当时日本的基本国情。因此,依托中国风土的中国审美精神并未从根本上动摇并改变日本民族自古以来所形成的审美观。
In the history of Japanese culture, the period of Asuka and Nara is the peak of Japan's comprehensive intake of Chinese culture. With the introduction of Buddhism, Buddhist art in the Six Dynasties of China and Tang culture are transplanted into Japan. Under the influence of Chinese culture, Japan's plastic arts and aesthetic consciousness achieves leapfrog development. Asuka-Hakuhou Buddhist art exudes the rhyme of the Six Dynasties; TenPyou art is established as "Classical Beauty" of Japan; Nara's literature imitates the form of Chinese literature. There is a huge development gap between Japanese culture and highly developed Chinese culture, which is the basic national condition of Japan at that time. Therefore, the Chinese aesthetic spirit based on Chinese local conditions has not fundamentally shaken and changed the aesthetic standards formed by the Japanese nation since ancient times.
In the history of Japanese culture, the period of Asuka and Nara is the peak of Japan's comprehensive intake of Chinese culture. With the introduction of Buddhism, Buddhist art in the Six Dynasties of China and Tang culture are transplanted into Japan. Under the influence of Chinese culture, Japan's plastic arts and aesthetic consciousness achieves leapfrog development. Asuka-Hakuhou Buddhist art exudes the rhyme of the Six Dynasties; TenPyou art is established as "Classical Beauty" of Japan; Nara's literature imitates the form of Chinese literature. There is a huge development gap between Japanese culture and highly developed Chinese culture, which is the basic national condition of Japan at that time. Therefore, the Chinese aesthetic spirit based on Chinese local conditions has not fundamentally shaken and changed the aesthetic standards formed by the Japanese nation since ancient times.
引文
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(1)盟神探汤:古时为判断是非曲直,令人在对神盟誓之后,将其手探入热水之中,手烫伤者为有罪,无烫伤者为无罪。
(1)日本于710年迁都奈良。2010年,恰逢迁都奈良1 300周年,以此为契机,奈良县等企划了“平城迁都1 300年纪念事业”活动,也被称为“平城迁都1 300年祭”。
[2][日]山本七平.何为日本人[M].崔世广,王炜,唐永亮,译.北京:国际文化出版公司,2010.
[3][日]内藤湖南.日本历史与日本文化[M].刘克申,译.北京:商务印书馆,2012.
[4][日]太田博太郎,山根有三,米沢嘉圃.名宝·日本の美術第2巻:法隆寺[M].东京:小学館,1982.
[5][日]坂本太郎,家永三郎,井上光貞,大野晋.日本古典文学大系68:日本書紀下[M].东京:岩波書店,1965.
[6][日]小野健吉.日本庭園---空間の美の歴史[M].东京:岩波書店,2009.
[7]许嘉璐.二十四史全译·隋书:第一册[M].上海:世纪出版集团·汉语大辞典出版社,2004.
[8][日]山岸徳平,竹内理三,家永三郎,大曽根章介.日本思想大系8:古代政治社会思想[M].东京:岩波書店,1979.
[9][日]鈴木靖民.遣唐使研究と東アジア史論[J].専修大学東アジア世界史研究センター年報,2010,(4).
[10][日]杉山二郎.大仏建立[M].东京:学生社,1968.
[11][日]黒板勝美,国史大系編修会.国史大系·続日本紀[M].东京:吉川弘文館,1971.
[12][日]家永三郎.日本文化史[M].刘绩生,译.北京:商务印书馆,1992.
[13]叶朗.中国美学史大纲[M].上海:上海人民出版社,1985.
[14][日]西田正好.日本美の系譜[M].东京:創元社,1979.
[15][日]石田一良.日本文化---历史的展开与特征[M].许极燉,译.上海:上海外语教育出版社,1989.
(1)盟神探汤:古时为判断是非曲直,令人在对神盟誓之后,将其手探入热水之中,手烫伤者为有罪,无烫伤者为无罪。
(1)日本于710年迁都奈良。2010年,恰逢迁都奈良1 300周年,以此为契机,奈良县等企划了“平城迁都1 300年纪念事业”活动,也被称为“平城迁都1 300年祭”。