作者：阮立

出版单位：上海大学

中文关键词：敦煌壁画;;中外融合;;女性形象

英文关键词：Dunhuang frescoes;;Harmonize;;Feminine image

中文摘要：敦煌莫高窟作为唐风艺术最可靠的遗存,保存了大量的唐代艺术精品。唐代敦煌壁画中,菩萨、飞天、乐舞伎的形象逐渐趋于女性化,本研究从造型、服饰、妆扮等方而对唐敦煌壁画中菩萨、菩萨、飞天、乐舞伎、女供养人的形象展开分析论述；通过唐卷轴画、墓室壁画中仕女形象的遗迹考,其风格特征及表现手法都与唐敦煌壁画中的女性形象极为相似。本研究目的在于还原真实的唐代女性形象。本文的绪论部分就选题意义、研究方法、研究对象、研究现状展开分析论述。本文的第一章论述敦煌石窟艺术风格形成的众多影响因素,其主要因素有西域及外来风格、中原风格、敦煌本土元素等。从隋代开始,敦煌壁画中的菩萨、飞天、乐舞伎女性化程度日益明显,隋代敦煌艺术所创造的辉煌成就为唐代所继承。本文的第二章至第五章分别对唐敦煌壁画中女性造型、服饰、妆扮、色彩进行研究分析。以图表形式对唐敦煌壁画中女性形象从造型、服饰、妆扮展开分类研究;对其风格特征、表现手法、图像意义等方面进行阐述。从造型上看,唐敦煌壁画中女性造型写实性强,比例适度,体现出S形的动态美,菩萨、飞天、乐舞伎形象日益女性化。从服饰上看,唐敦煌壁画中女性服饰充分体现了中西文化的交融,一方面继承和发展中原传统服饰,另一方面又受到印度及西域地区佛教艺术的影响,两者交融为唐代女性服饰注入了全新的活力,其审美特征具有深刻的文化历史价值。从妆扮上看,唐敦煌壁画中女性妆扮体现了唐人的审美理想和情感追求,体现了中国化、世俗化、女性化的风格特征；又充分体现了多元文化的融合。从色彩上看,敦煌壁画艺术在保持中原传统线描艺术的基础上,创造性发挥和融合东西方色彩理念,从而使其彩绘艺术成为其鲜明的特色,在色彩的运用上,充分体现了墨色并用、线色并举、色彩烘托的理想效果。本文的第六章是对唐代绘画艺术中女性形象遗迹考察,溯源中国古代仕女画中的女性形象,并与唐敦煌壁画中的女性形象作比较分析。木文的第七章是对唐代女性形象审美造型成因的分析,其成因在于受印度佛教艺术的影响、统治阶级审美思想和唐代开放风气的影响。本文经过大量图像及史料研究,对唐代女性审美造型成因形成做了全新的探索。敦煌优越的地理位置,使他能不断接受中西新文化,同时又能保持自己独特的文化面貌。在民族文化史上,它堪称一个内容丰富、形式多样、独具风格的艺术宝库。唐代是中国古代社会最为辉煌灿烂的阶段,文化上的盛世,充分体现在对传统文化的传承和发扬,也表现在对外域文化、异族文化的汲耿和采纳,多元文化的交汇,促进唐代文化的兴盛,正是在这种精神文化的指引下各种文化流派、艺术形式都有得到充分发展。唐代敦煌壁画中充实而光辉的女性形象,允分体现了这一时代的文化精神。

英文摘要：Dunhuang as the perfect survival of the art of the most reliable and saved a lot of the Tang Dynasty Art. The Dunhuang murals, Bodhisattvas, Flying Apsaras and YueWuji(Singer and dangcer), are to be feminine. From this study and design, make-up,clothes, Bodhisattvas, Flying Apsaras and YueWuji(Singer and dangcer), Provider feminine analysis study will commence. Through the Tang Dynasty Art of painting, the Tang Dynasty tomb murals are seeing their style features, and style of the Dunhuang murals image of women in similar. The research aims to restore the true Tang Dynasty female.The part of thesis just choice meaning and research method research objects to define study and the status quo expand research.The first chapter on the grottoes of Dunhuang art style of the many factors influencing. The main factors have Xiyu and foreign style, the central plains, the elements for Dunhuang indigenous. Strat from Sui Dynasty, in the Dunhuang murals of Bhodisattva,Flying Apsaras、YueWuji(Singer and dangcer)、Provider feminine level is increasingly obvious. This section to Sui Dynasty dunhuang murals in the feminine characteristics of modeling and style in research and analysis. Sui Dynasty Dunhuang art created by the achievements of the inheritance by Tang Dynasty.The second chapter to chapter 5 of each of the Dunhuang murals, dress ornaments, pendants cast in women, her make-up, research and analysis. In the form of the Dunhuang murals female image in shape, clothes, make-up in the classification of study style features, mainly from the style and images in this sense, etc. From the design, the Dunhuang murals women for sex strong cast, Proportion moderate, " S " the shape of the dynamic beauty. The images of Bhodisattva, Flying Apsaras, YueWuji(Singer and dangcer),Provider gradually feminize. From clothes on, the Dunhuang murals women dress in the Chinese and Western cultures blend.On the one hand, Inherited and developed on the traditional costume.On the other hand, by India and Xiyu area of the buddhist art.The costume of the stream goes back to Persia and India. The combination of Tang Dynasty feminine clothes into the new vitality. The aesthetic characteristics has deep cultural historical value. From make-up, in the Dunhuang murals women make-up of the Tang people's ideals and emotions, most important features of the Chinese,secular, feminine characteristics; and the style of the integrated multicultural societies. From on the color, the Dunhuang murals in the art of keeping on the basis of traditional line drawing art, creativity and blending colours to the west, making it art colored drawing a striking feature in the application and fully embodies masstone, line color and transportation, foiling your ideal effect. The sixth chapter of the Tang dynasty painting art that remains of ancient Chinese ladies, etymologies the female image in the Dunhuang murals, and the image of women in a comparative analysis. The seventh chapter of a female cast an analysis of causes, the main reason is that the Indian Buddhism is the art of the impact, the aesthetic thought of the ruling classes affect, the Tang dynasty and open climate.This image and a number of the historical research about the aesthetic causes formation of women cast a new quest.Dunhuang the superior location, so he can continue to accept the Chinese and Western culture, and maintain their own unique cultural outlook. In the national, it is a rich and diverse forms and had a style of art treasures. The Tang Dynasty is the most glorious ancient social, cultural, fully reflected in the traditional cultural tradition and develop, but also in the external field of culture, learn foreign cultures, multi-cultural each promoting the culture to flourish, it is in this spirit of cultures and different cultures the art school, had the full development. The Tang Dunhuang murals, and in full glorious female, fully demonstrated the age of the cultural spirit.

[中文刊名]：哲学与人文科学辑 [发表时间]：2011-03-01 [第一导师]：赵宪章 [主题]：唐敦煌壁画女性形象研究

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