中国传统彩塑审美散论
摘要
彩塑艺术数千年来在中国雕塑艺术造型语汇的历史演绎中,结合艺术的本体语言不断的创新、发展、变化。它是中国民族精神力量的体现,高度智慧与卓越艺术创作才能的结晶。那些巨型的佛教彩塑,通过捏塑和赋彩显现出人物的风韵神采,使静止的塑像成为有生命的凝眸欲语的真实造像,庄重典雅、造型完美,令人叹为观止。不仅让人们领略了中国彩塑的独特风采,而且在世界史上有着特出的地位。
彩塑作为表达造型艺术与视觉艺术的语言,是多种构成要素的有机组合。中国古代视彩塑为宗教偶像而尊崇,鉴赏其艺术特征则始终作为虔诚信仰之附属而隐多于显:雕塑家被视作工匠,雕塑艺术则与模仿、经验、手工劳技等量齐观。当人们日益深刻地感受到彩塑艺术穿越时空、透射心灵的辐射力和震撼力时,我们需要解读古代彩塑艺术的构成,方能获知彩塑艺术魅力之源泉。
Painted sculpture art for several thousand years in China statuary art modelling vocabulary historical deduction, union art main body language unceasing innovation, development, change. It is China national spirit strength manifestation, highly the wisdom and the remarkable artistic creation can crystallization. These giant Buddhism painted sculpture, through molds clay figurines and bestows on the color to appear character's graceful bearing appearance, causes static to make an idol into has the life to fix one's gaze on wants the language the real statuary, grave elegant, the modelling is perfect, makes one praise to the heavens. Not only let the people understand the Chinese painted sculpture unique elegant demeanor, and has the prominent status in the universal history.
The painted sculpture as the expression plastic arts and visual arts' language, is the many kinds of integrant part organic combination. China ancient times regarded the painted sculpture to venerate for the religious idol, appreciates its artistic characteristic throughout to take the reverent belief attached and hidden is more than obviously: The sculptor is regarded as the artisan, the statuary art with the imitation, the experience, manual Lao Ji equates. When the people feel profoundly day by day the painted sculpture art traversing space and time, the transmission mind's radiating power and shocks the strength, we need to explain ancient times the painted sculpture art constitution, Fang Neng learn fountainhead of the painted sculpture artistic charm.
彩塑作为表达造型艺术与视觉艺术的语言,是多种构成要素的有机组合。中国古代视彩塑为宗教偶像而尊崇,鉴赏其艺术特征则始终作为虔诚信仰之附属而隐多于显:雕塑家被视作工匠,雕塑艺术则与模仿、经验、手工劳技等量齐观。当人们日益深刻地感受到彩塑艺术穿越时空、透射心灵的辐射力和震撼力时,我们需要解读古代彩塑艺术的构成,方能获知彩塑艺术魅力之源泉。
Painted sculpture art for several thousand years in China statuary art modelling vocabulary historical deduction, union art main body language unceasing innovation, development, change. It is China national spirit strength manifestation, highly the wisdom and the remarkable artistic creation can crystallization. These giant Buddhism painted sculpture, through molds clay figurines and bestows on the color to appear character's graceful bearing appearance, causes static to make an idol into has the life to fix one's gaze on wants the language the real statuary, grave elegant, the modelling is perfect, makes one praise to the heavens. Not only let the people understand the Chinese painted sculpture unique elegant demeanor, and has the prominent status in the universal history.
The painted sculpture as the expression plastic arts and visual arts' language, is the many kinds of integrant part organic combination. China ancient times regarded the painted sculpture to venerate for the religious idol, appreciates its artistic characteristic throughout to take the reverent belief attached and hidden is more than obviously: The sculptor is regarded as the artisan, the statuary art with the imitation, the experience, manual Lao Ji equates. When the people feel profoundly day by day the painted sculpture art traversing space and time, the transmission mind's radiating power and shocks the strength, we need to explain ancient times the painted sculpture art constitution, Fang Neng learn fountainhead of the painted sculpture artistic charm.
引文
[1]李泽厚.华夏美学.天津:天津社会科学院出版社.2001
[2]郎天咏,李诤.全彩中国雕塑艺术史.银川:宁夏人民出版社.2000
[3]王子云.中国雕塑艺术史.北京:人民美术出版社.1988
[4]徐复观.中国艺术精神.北京:清华大学出版社.2001
[5]钱穆.中国学术思想论丛。合肥:安徽教育出版社。2004
[6]王子云.中国古代雕塑百图.北京:人民美术出版社.1981
[7]李泽厚.美的历程.天津:天津社会科学院出版社.2001
[8]李泽厚.美学论集.上海:上海文艺出版社.1980
[9]王朝闻.美学概论.北京:人民出版社.2005
[10]王进玉.敦煌石窟全集·科学技术画卷.香港:商务印书馆(香港)有限公司出版社.2001:197-206.
[11]史苇湘.关于敦煌莫高窟内容总录.北京:文物出版社.1982
[12]张学荣.凉州石窟及有关问题.敦煌研究.1993(4)
[13]陆君玖.塑形赋彩.上海:上海科技教育出版社.2006
[14]李纯.世界文化遗产.彩塑艺术明珠双林寺.石家庄:河北美术出版社.2002
[151丁风萍,王水先.双林寺.太原:山西人民美术出版社.1999
[16]胥建国.中西雕塑的文化内涵.北京:北京图书馆论文库.2000
[17]金维诺,罗世平.中国宗教美术史.南昌:江西美术出版社.1999(6)
[18]金申.印度及建陀罗佛像艺术精品图集.北京:中国工人出版社.1997
[19]阎文儒.中国石窟艺术总论.桂林:广西师范大学出版社.2003(8)
[20]刘成张.从中国古代雕塑的绘画性欣赏中国古代雕塑.赤峰学院报社(汉文哲学社会科学版).2005(4)
[2]郎天咏,李诤.全彩中国雕塑艺术史.银川:宁夏人民出版社.2000
[3]王子云.中国雕塑艺术史.北京:人民美术出版社.1988
[4]徐复观.中国艺术精神.北京:清华大学出版社.2001
[5]钱穆.中国学术思想论丛。合肥:安徽教育出版社。2004
[6]王子云.中国古代雕塑百图.北京:人民美术出版社.1981
[7]李泽厚.美的历程.天津:天津社会科学院出版社.2001
[8]李泽厚.美学论集.上海:上海文艺出版社.1980
[9]王朝闻.美学概论.北京:人民出版社.2005
[10]王进玉.敦煌石窟全集·科学技术画卷.香港:商务印书馆(香港)有限公司出版社.2001:197-206.
[11]史苇湘.关于敦煌莫高窟内容总录.北京:文物出版社.1982
[12]张学荣.凉州石窟及有关问题.敦煌研究.1993(4)
[13]陆君玖.塑形赋彩.上海:上海科技教育出版社.2006
[14]李纯.世界文化遗产.彩塑艺术明珠双林寺.石家庄:河北美术出版社.2002
[151丁风萍,王水先.双林寺.太原:山西人民美术出版社.1999
[16]胥建国.中西雕塑的文化内涵.北京:北京图书馆论文库.2000
[17]金维诺,罗世平.中国宗教美术史.南昌:江西美术出版社.1999(6)
[18]金申.印度及建陀罗佛像艺术精品图集.北京:中国工人出版社.1997
[19]阎文儒.中国石窟艺术总论.桂林:广西师范大学出版社.2003(8)
[20]刘成张.从中国古代雕塑的绘画性欣赏中国古代雕塑.赤峰学院报社(汉文哲学社会科学版).2005(4)