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中国传统佛教造像的色彩艺术体现出,随着佛教的传入,佛教色彩不断中国化、地域化,并开始显现色彩造型形式的个性化倾向。佛教色彩艺术也出现从表现神性到人个性的转变,这种变化的过程是逐步生活化、世俗化的,这也是有意识的要展现主体的一种发展趋势。本文从灵岩寺宋代彩塑罗汉的色彩审美特色,论证了在中国印度佛教造像从神性到个性的色彩形式之变过程。意在揭示佛教神性色彩与人性色彩之间的佛性造型中国化的形因与空间表现特征。
The color art of Chinese traditional Buddhist statues shows that with the introduction of Buddhism, the color of Buddhism continues to be localized and localized in China. At the same time, it has begun to show the individualized tendency of the form of color. Buddhism color art also appears from the performance of the divine personality to personality change, this process of change is a gradual life, secularization, which is conscious to show the main body of a development trend. From the color aesthetic features of the Song dynasty sculpture Luo Han in Lingyan Temple, this article demonstrates the process of the change of the color form of the Indian Buddhist statues from the divinity to the individuality in China. It is intended to reveal the characteristics of the Chinese form and the spatial representation of Buddhism in the divine color and human nature of Buddhism.