敦煌莫高窟佛教本生故事壁画中的形意韵美学研究  

The Aesthetic Research of Form,Meaning and Rhyme in the Buddhist Bunsen Story Murals in Mogao Grottoes of Dunhuang

作　　者：王文中[1] 屈曼烨 WANG Wenzhong;QU Manye(Shaanxi University of Science and Technology,Xi'an,Shaanxi,710021)

机构地区：[1]陕西科技大学,陕西西安710021

出　　处：《湖南包装》2024年第4期19-21,78,共4页

基　　金：陕西省社会科学界联合会重点智库研究项目(2023ZD1057);陕西省社会科学基金项目(2021J037);陕西省教育厅重点科研计划项目(哲社重点研究基地项目)(21JZ021)。

摘　　要：佛教作为世界三大宗教之一,与美学的关系是不可割离的。佛教本生故事源起古老的印度,宣扬释迦牟尼历经若干世的善行而最终修成正果的事迹,是敦煌石窟中最丰富最具美学气息的壁画作品。在敦煌佛教本生故事壁画中,用线条、形状、姿态等事物外在的“形”表达佛教的精进修行;用色彩和构图融合情感、理念、价值观等事物内涵和精神的“意”表达佛教的信仰和戒律;用虚实、意境和空间融合节奏、韵律、声音、气息等事物的“韵”表达佛教无常性等思想,最终达到形态美、内涵思想与韵律风格三者和谐统一的美学。Buddhism,as one of the three major religions in the world,is inseparable from aesthetics.The Buddhist jataka story originated in ancient India,propagating Sakyamuni's good deeds through several generations and the ultimate accomplishment of the deeds,is the most abundant and aesthetic murals in Dunhuang Grottoes.In the Dunhuang Buddhist Bunsen story murals,the"form"of lines,shapes,gestures and other things is used to express the intensive practice of Buddhism.Use color and composition to express Buddhist beliefs and precepts by integrating emotions,ideas,values and other things and spiritual"meaning";The idea of Buddhism impermanence is expressed through the"rhyme"of the fusion of rhythm,rhythm,sound and breath with the virtual reality,artistic conception and space,and the aesthetic of form beauty,connotation thought and rhythm style is finally achieved.

关 键 词：敦煌壁画 佛教本生故事 形意韵美学 

分 类 号：K879.41[历史地理—考古学及博物馆学]