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| 昆明筇竹寺五百羅漢造像藝術的圖像研究=A Study on the Five Hundred Buddhist Arhats Sculpture Art in the Qiongzhu Temple, Kunming | ||
| 作者 | 吳浚 (著)=Wu, Jun (au.) |
|---|---|
| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.5 (總號=n.159) |
| 出版日期 | 2016 |
| 頁次 | 63 - 70 |
| 出版者 | 敦煌研究編輯部 |
| 出版者網址 | http://www.dha.ac.cn/ |
| 出版地 | 蘭州, 中國 [Lanzhou, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位：安徽師範大學新聞與傳播學院 |
| 關鍵詞 | 筇竹寺=Qiongzhu Temple; 五百羅漢=Five Hundred Arhats; 靈隱寺=Lingyin Temple; 寶光寺=Baoguang Temple; 造像=statue |
| 摘要 | 筇竹寺五百羅漢人物造像，形神兼備、氣韻生動、飛靈神動的藝術性並非偶然，與杭州靈隱寺、四川寶光寺在姿勢、形態、服飾、體量等都有明顯的承襲關系，傳承過程中又不斷創新，最終集誇張寫意性、裝飾民俗性、生動敘事性於一體。這些羅漢造像一反同時期五百羅漢造像的程式化風氣，創造出自由多變、內外合一的新境界。 The figural statue of Five Hundred Arhats in Qiongzhu Temple exhibits unity of form and feeling with a fluid, spirited artistry achieved by no accident; it has obviously inherited characteristics like posture, form, costume, and size from works found in Hangzhou's Lingyin Temple and Sichuan's Baoguang Temple. This statue shows innovation in the process of inheritance, however, and unifies freehand brushwork, decorative folk features, and vivid narration in one. Arhat statues such as these were contrary to the stylized creative practices of Five Hundred Arhats work common at the time, and create a free and varied new realm that concretizes both inner and outer artistic aspects. |
| 目次 | 一、羅漢的頭部造型 64 二、羅漢的姿勢造型 65 (一)造像風格比較 65 A.頭部 65 B.手 66 C.腳和上身 67 (二)站姿 67 (三)坐姿 68 三、雜項 69 四、結語 70 |
| ISSN | 10004106 (P) |
| DOI | 10.13584/j.cnki.issn1000-4106.2016.05.011 |
| 點閱次數 | 113 |
| 建檔日期 | 2020.08.24 |
| 更新日期 | 2020.08.24 |
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