见山是山,见水是水──佛教艺术中的塑壁形式及其蕴含的境界观-美术学(雕塑)专业论文.docxVIP

中国美术学院— 中国美术学院—雕塑系—曾齐宝—佛教艺术中的塑壁形式及其蕴含的境界观 PAGE PAGE 10 中文摘要 塑壁是指将山海云石悬塑于壁，人物等形象高下错落散置其间的雕塑形式，亦 称影壁、悬塑或海山，常制作于庙宇、寺院的殿座、楼阁的内部壁面。相传为唐杨 惠之所创，后又有北宋画家郭熙，受惠之塑壁启发，以手堆泥于壁，使成凹凸之状， 待干后，随其形迹用墨晕成山峦林壑，称为“影壁”。 塑壁之形成首先源于佛教本身，山林幽栖与禅修状态的某种契合，无论佛教壁 画中大量山岳纹和山水景观的表现，还是石窟造像的依山傍水，无不体现着佛教艺 术与自然山水结合的理想性。另外中国又具有深厚的山水人文传统，可以说山水文 化、山水审美影响了传统艺术的方方面面。塑壁即在这样的双重背景下应运而生。 塑壁有独特的表现力，不仅有身临其境之感的营造，还有如山水画一般的意境 表现。因此就塑壁自身的价值展开来探讨其对雕塑中造境的作用将有积极意义。 关键词： 塑壁 山水人文精神 造境 Abstract SuBi means that hang the marble mountain and sea on the wall and scattered during the shape of person compete with scattered of sculpture,also called YingBi、XuanSu or HaiShan,always be made in the temple、the palace of temple、 the wall in the pabilion.It is said that it was created by YangHui zhi of the Tang Dynasty,then the painter GuoXi of the Song Dynasty was inspired by YangHui zhi,heap clay on the wall into the shape of bump.after it was dry,be called “YingBi”. SuBi was formed from the Buddhist first that is a fit with seclusion in the forest and the meditation mode, whether pattern in a large number of mountain paintings of the Buddhist or the sculpture of grotto with mountain and water reflect that the ideality was reflected by the Buddhist art with the mountain and water in the nature.In addition,China has the deep traditional of landscape which aspects most part of the traditional art. SuBi was born in this context. SuBi has unique expression with the feeling of immersive,and also the expreesion of landscape painting.So it will have a posive significance to research from the value of SuBi to how to creat the Artistic conception of sculpture. Key words: SuBi Humanism of landscape Expreesion of landscape 引言 选择塑壁研究缘于对传统雕塑之学习，读及唐代“塑圣”杨惠之的相关文献， 其中记载惠之创山水塑壁。至宋代惠之所作山水塑壁仍然很多，郭熙受此启发又创 影壁。惠之之塑深入奥堂，驰骋古今。然圣手妙迹早已不传于世，后世常将有惠之 遗风之作附会为其真迹，苏州保圣寺罗汉塑壁是为一例，余亦曾专门前往参访。 保圣寺塑壁位于苏州古镇甪直，史学家顾颉刚于民国初年游古镇时发现保圣寺 塑壁残存，感叹稀有文物无人整理之颓败，一面向四处接洽作保存运动，一面在书 报发表文字作宣传，终使胜迹得以存世。当时，另有日本美术史家大村西崖有感于 顾氏之记载，专程来华考察，归国后著《塑壁残影》一书，对保圣寺的状况以及殿 内罗汉塑壁原貌进行了精详地叙述和考证，亦提及塑壁之重要价值。后又有台