【作者】 陈蓉；

【导师】 李雅君；

【作者基本信息】 山西大学 ， 美术学， 2010， 硕士

【摘要】 岩山寺位于繁峙县城东南36公里处的天岩村。据寺内金代碑刻和西壁墨书题记所示,岩山寺文殊殿壁画是由金代御前承应画匠王逵等人在金正隆三年至大定七年间绘制的。在我国宋、金寺观壁画遗存不多的情况下,岩山寺文殊殿的金代壁画以其内容丰富,画技高超而保留至今,实属难能可贵,其中尤以文殊殿西壁绘制精美、保存完好而成为其代表。从绘画的内容来说,岩山寺文殊殿西壁虽是描绘佛传故事,但它以一组宫殿建筑群为中心而展开,使我们透过壁画中的建筑图景更加深入地了解金代的社会、政治、文化、建筑、艺术,甚至人的意识形态等各个层面上的形态特征。本文主要依据岩山寺文殊殿西壁壁画,对其中蕴含的丰富的建筑图景进行系统整理与研究,着重讨论三点：首先,岩山寺文殊殿西壁是由一组完整的宫殿建筑群组成,这实际上是画匠王逵结合当时的宫廷建筑制度和社会风貌绘制于壁画之中。其前殿重檐、主廊及后殿二层楼的主殿、工字形平面和画中十字脊重檐阙楼等等,都反映了金代宫殿建筑的新特点。同时,金代推行汉化政策,受宋代影响颇深,从中亦可看出壁画中宫城的总体布局、市井酒楼、建筑细部等等与宋、金建筑的联系。其次,文殊殿西壁画面中的建筑图景是作为一组宫殿建筑群出现的,其中涉及到界画的表现。壁画内容丰富,布局精巧,设色典雅,不同于一般的寺观壁画做法,十分接近于卷轴画,是典型的北宋院体风格,而北宋院体画的界画风格,在此壁画中体现得尤为透彻,从中反映了画匠高超的艺术水平和极强的写实功力。因此,笔者认为王逵应该是一名北宋的界画家。最后,岩山寺文殊殿西壁建筑图景的出现,是与整个金代社会文化心理趋向密切相关的,尤其是与统治者的主流意识形态相关连。从对岩山寺西壁建筑图景的研究中,我们也可以看到金代统治者的“礼乐”及“华夷同风”等思想的体现。全面地分析西壁建筑图景中的建筑特点、艺术语言与内在的深层文化,补充完善了以往研究中的空白,对于我们了解金代的社会、科技、艺术、思想无疑具有重要意义。更多还原

【Abstract】 Yan Shan Temple locates in the Tianyan Village 36 kilometers away from the town Fansi in Shanxi Province. According to the carved stone inscription of Jin Dynasty and the handwriting inscription on the west wall, the mural of Manjusri Hall is Painted by Wangkui etc, who were the "Yu Qian Cheng Ying" painters of Jin Dynasty. There are not so many murals from Temples constructed in Song and Jin Dynasty, however, the murals of Manjusri Hall in Yan Shan Temple painted in Jin Dynasty is highly appreciated by people with its abundance of contents and super painting skills, among which the most complete and delicate one is the the Painting concerning Architecture on the West Wall.The contents of the painting focus on a series of Palace Construction, which help us to gain an insight into the society, politics, culture, architecture, art and even people’s ideology of Jin Dynasty.The paper makes a close study on the Painting concerning Architecture on the West Wall of Manjusri Hall in Yan Shan Temple, and focuses on three points as follows:First, the mural on the West Wall of Manjusri Hall in Yan Shan Temple is made up of a series of complete Palace Construction. The painter Wang kui combined the the characteristics of Palace Architecture with the social style and features in the painting. The skirt-roof of the front house, the main corridor, the two - storey main hall of the back house, I-shaped plan, and the imperial building with alero doble and cross-shaped ridge line, etc. all of them reflected the new features of palace construction in Jin Dynasty. Meanwhile, the ruling class advocated Chinese localization Policy, and heavily influenced by the Song Dynasty. We can see the close tie of the painting with the architecture of Song and Jin Dynasty from the painting’s general layout of the imperial palace, marketplace and restaurant, detailing construction Second, the painting concerning Architecture on the West Wall of Manjusri Hall focus on a series of Palace Construction, among which the manifestation of Jiehua is impressive. We can clearly see the style of Jiehua of North Song Dynasty in the painting, which demonstrated the super artistic level and realistic painting power of the painter. Hence, the writer infers that Wangkui was a painter for Jiehua from North Song Dynasty.Finally, the appearance of the painting concerning Architecture on the West Wall of Manjusri Hall in Yan Shan Temple was closely related to the psycho-tendency of social culture of Jin Dynasty, especially relevant to the main stream ideology of the ruling class.From the study of the painting concerning Architecture on the West Wall of Manjusri Hall in Yan Shan Temple, we can also see the thinking of "Chinese Rites and Music" and "the same origin of the Han nationality together with other ethnic groups",etc. of the ruling class in Jin Dynasty. A full study on the characteristics of architecture, artistic view and deep inner culture of the painting concerning Architecture on the West Wall of Manjusri Hall can make up for the blank space in the previous studies, which is surely of significance for us to gain an insight into the society, science and technology, art and thinking in Jin Dynasty.更多还原