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山西云冈石窟在经过动荡的社会,政权的频频更替后,在北魏中期开凿。云冈石窟艺术灿烂辉煌,其石刻艺术更是美不胜收,在中国石刻艺术史上占有极其重要的地位。作为一种审美意识形态,我们就从中国传统美学角度来探讨一下云冈石窟飞天的美学特征:审美活动中的美感分析反映了形态美和宗教中的美以及服饰的美;审美领域中的人物美涵盖了形体美和技术美;审美范畴中的优美与崇高讲述了“阳刚”之美与“阴柔”之美以及“空灵”的文化内涵与美感。云冈石窟——飞天乐舞,它把人性神化,付诸造型,又用造型引发人性,于是,它成了民族心底一种彩色的梦幻,一种圣洁的沉淀,一种永久的向往。
Shanxi Yungang Grottoes in turbulent society, the regime’s frequent replacement, cut in the mid-Northern Wei dynasty. The art of Yungang Grottoes is splendid and brilliant. The art of stone carving is even more beautiful. It occupies an extremely important position in the history of Chinese stone carvings. As an aesthetic ideology, we explore the aesthetic characteristics of the flying Yungang Grottoes from the perspective of Chinese traditional aesthetics: the aesthetic analysis of aesthetic activities reflects the beauty of beauty and religion in form and religion, the beauty of characters in the field of beauty Covers the beauty of form and technology, and the beauty and loftiness of aesthetic category tells about the cultural connotation and aesthetics of “masculinity ” and “feminine ” and “ethereal ”. Yungang Grottoes - flying music and dance, it dehumanization of human nature, put into shape, but also lead to humanity with the shape, so it became a national color dream, a holy precipitation, a permanent yearning.