论宋代石窟色彩观  

On the color concept of the Song Dynasty grottoes

作　　者：贾国涛[1] 龙红[1] 

机构地区：[1]重庆大学艺术学院,重庆401331

出　　处：《重庆大学学报（社会科学版）》2017年第2期138-146,共9页Journal of Chongqing University(Social Science Edition)

基　　金：2015年度中央高校基本科研业务费专项项目"大足石刻护法神服饰研究"(106112015CDJXY050001)

摘　　要：宋代石窟是中国石窟艺术史的最后一个阶段,主要分布于两川的大足和安岳、陕西延安、浙江灵隐、湖南江永等地,尤其是重庆的大足石刻最具代表性,不仅堪为中国石窟艺术的辉煌总结,也是宋代石窟艺术的典型之作及设计意匠的集中体现,特别是其独特的色彩观及表现形式具有鲜明的时代性和地域性——作为宋代石窟艺术的缩影,在色彩设计上体现了形色同构、圣俗通约的特点。作为两宋的"时代色相",其色彩观念系统体系为历时性、规约性、共时性、经济性、技术性、感知性、无意识、比兴性;作为宋型文化思想的物质化承载,标志着佛教石窟艺术彻底完成中国化、风俗化和道儒石窟高度成熟化、体系化的历程。Song Dynasty grottoes, the last stage of the Chinese grotto art history, mainly distributes in Dazu and Anyue, Yan’ an, Lingyin, and Jiangyong. Dazu Rock Carvings are the most representative example： not only because they are a glorious summary of Chinese grotto art, but also because they are a typical text and a concentrated reflection of design of the Song Dynasty grotto art. Their unique color concept and expression form have distinct time and region characteristics. As the epitome of the grotto art of Song Dynasty, their color design reflects the characteristic of combination of shape and color as well as integration of the sacred and the secular. As a reflection of the Song Dynasty society, their color concept system is diachronic, conventional, synchronic,economic, technical, perceptual, unconscious, and metaphorical. As a materialization of the Song Dynasty culture thoughts, they marked the finish of sinicization and popularization of Buddhist grotto art, as well as the highly mature and systematic of Taoism and Confucianism grottoes.

关 键 词：宋代石窟 色彩观 大足石刻 风俗化 

分 类 号：K879.27[历史地理—考古学及博物馆学]