论文部分内容阅读
在中国雕塑发展史中,宋代雕塑与北魏、唐相比较而言风格上是现实性的,它有自身的美学范式。长期以来唐盛宋衰的言论或是宋代雕塑流俗的看法流于片面而有失公允,值得我们审视。以南宋大足宝顶山石刻为代表的佛教雕塑写实性强,情节丰富,表现世俗伦理,展现了宋代社会生活,是现实美的典型,具有重要的历史地位和价值。然而宋代以后图像热点逐渐由雕塑向绘画的转型,水墨画大兴,大足宝顶山雕塑在占据现实性艺术高峰的同时遂成典范。
In the history of the development of Chinese sculpture, the sculptures in the Song Dynasty were realistic in style compared with the Northern Wei and Tang Dynasties. They had their own aesthetic paradigm. For a long time, Tang Sheng-Song’s remarks or the popular view of the Song Dynasty sculpture were unilateral and unfair and deserve our examination. The Buddhist sculptures, represented by the large-scale Baoding Mountain Stone Inscriptions in the Southern Song Dynasty, are strong in realism, rich in plots, show the secular ethics and show the social life in the Song Dynasty. They are typical of realistic beauty and have an important historical status and value. However, after the Song Dynasty, the hot spots of images gradually transformed from sculptures to paintings. Dabu ink painting and Dazu Bao Ding Mountain sculptured the model while occupying the peak of realistic art.