泉州开元寺大雄宝殿内飞天妙音鸟斗拱的艺术特征与符号内涵  

The Artistic Characteristics and Symbolic Connotation of the Flying Apsaras Miaoyinniao Dougong in the Main Hall of Kaiyuan Temple in Quanzhou

作　　者：李涛 LI Tao(Faculty of Fine and Applied Arts,Khon Kaen University,Khon Kaen Thailand,40002)

机构地区：[1]孔敬大学美术与应用艺术学院,泰国孔敬40002

出　　处：《山西大同大学学报（社会科学版）》2024年第4期148-151,共4页Journal of Shanxi Datong University(Social Science Edition)

摘　　要：泉州开元寺的飞天妙音鸟斗拱融合了宗教文化、海洋文化、闽南文化和中原文化,是保存最完整、规模最大的中国木制飞天雕像。大殿内24个木制飞天妙音鸟姿态飘逸,色彩鲜艳,表现出浓郁的“唐风朱韵”。这些飞天形象源自佛教中的迦陵频伽,象征着佛祖传法和僧众聆听梵音的精神内涵。其色彩和服饰装饰丰富,体现了美学中的和谐与动态性。飞天手持的物品象征祭祀和宗教仪式,展示了多元文化的融合和艺术的高度统一。The flying apsaras of Kaiyuan Temple in Quanzhou merge diverse religious cultures,maritime culture,Minnan cul-ture,and Central Plains culture.They are the best-preserved and largest wooden flying apsaras statues in China.Founded in the early Tang Dynasty,Kaiyuan Temple has undergone multiple reconstructions and repairs,maintaining the architectural features of the ear-ly Ming Dynasty’s Hongwu period.The 24 wooden flying apsaras in the main hall have graceful postures and bright colors,exhibit-ing a strong Tang Dynasty style.These flying apsaras figures originate from the Buddhist Kinnara,symbolizing the spiritual essence of the Buddha’s teachings and monks listening to Buddhist hymns.Their rich colors and decorative attire reflect aesthetic harmony and dynamism.The items held by the flying apsaras symbolize rituals and religious ceremonies,showcasing the fusion of diverse cultures and a high level of artistic unity.

关 键 词：泉州开元寺 飞天 艺术特征 符号内涵 佛教 

分 类 号：J59[艺术—艺术设计]