繁峙公主寺大雄宝殿明代壁画对称构图分析  

Symmetrical Composition Analysis of the Mural of Ming Dynasty in the Great Buddha's Hall of the Princess Temple in Fan Shi County

作　　者：李秉婧[1] 

机构地区：[1]忻州师范学院美术系,山西忻州034000

出　　处：《山西农业大学学报（社会科学版）》2012年第10期1070-1074,共5页Journal of Shanxi Agricultural University:Social Science Edition

摘　　要：繁峙公主寺大雄宝殿明代壁画是我国现存较为完整的儒、释、道三教一体的水陆壁画精品,具有极高的历史和艺术价值。公主寺壁画主要分布在大雄宝殿内的四壁上,全殿壁画规模宏大,人物众多,仙佛鬼神聚于一堂,技艺精湛。目前对公主寺壁画的相关研究主要是从水陆画、壁画内容、人物身份、作者年代等方面进行,还没有专门关于画面整体构图的研究文章。公主寺均衡对称式构图,极具特点,体现公主寺壁画的整体性和完整性。全殿东西壁画整体以正中释迦佛为中心严格对称;每幅壁画又都以各自的中心对称。壁画整体中心突出,画面局部有趋向中心的动势,是非常典型的水路壁画的构图样式。文章在实地考察的基础上,查阅相关文献,绘制了公主寺壁画整图的线稿,对公主寺壁画的设计布局,对称构图形式作深入研究,总结出公主寺水陆画的构图规律。The mural of Ming Dynasty in the Great Buddha＇s Hall in the Princess Temple in Fan Shi,Xin is a masterpiece with the great historical and artistic value,merged with ancient Confucianism,Buddhism and Taoism.The paintings are drawn on the four walls of the Great Buddha＇s Hall,which are excellent and amazing with various of people and fairy figures.So far,the study of these paintings has focused on land and water drawings,the stories of the paintings,the identity of the figures,and the living time of the painters,without the research on the overall composition.The paper,based on the field-visit and reference to related literature,outlines the mural,studies deeply the design layout,and summarizes the composition law of the land and water paintings.

关 键 词：公主寺 水陆画 构图 对称 

分 类 号：J22[艺术—美术]