「天衣飛揚，滿壁風動」——敦煌壁畫視覺語彙於現代藝術應用之研究

Abstract

敦煌壁畫作為敦煌藝術重要的組成部分之一，融東西方之所長，自成體系，給人以「天衣飛揚，滿壁風動」的獨特視覺美感。不同時期的敦煌壁畫呈現的藝術造詣、社會風俗和宗教信仰充斥著時代性，成為現代藝術的孕育源泉。本文從「天衣飛揚，滿壁風動」出發，研究敦煌壁畫呈現的視覺語彙、美學精神，以及基於現代藝術創作應用所展現的文化傳承。通過分析敦煌壁畫在視覺語匯所呈現的形式特征, 比較東西方藝術審美的差異，透過東西方對待藝術的不同審美視角，探討敦煌壁畫藝術的美學精神。筆者從敦煌壁畫「天衣飛揚，滿壁風動」裡探尋「天人合一」的思想底蘊，對敦煌壁畫視覺語彙再度梳理，汲取敦煌壁畫傳統文化的營養，逐步爬梳其審美價值體現在現代藝術中的應用。透過東西方審美的差異剖析現代藝術的美學特徵；透過以老莊為代表的傳統道家思想和宗教氛圍中的理性精神影射出現代藝術的視覺形式；透過敦煌壁畫的審美文化以及佛教精神再敦煌藝術中的呈現分析東方藝術的現代化思維；透過時代變遷的敦煌壁畫所展示的社會縮影品析現代藝術的時代性。敦煌藝術融儒家文化、古印度佛教、道教等不同文化為一體，將不同來源的文化養分進行轉化和吸收，成就了汲取不同文化之所長，又不乏自身文化特點的獨特藝術風格，在飛速發展的當下與現代藝術孕育而生。本文通過對敦煌壁畫視覺語彙在現代藝術中呈現出的審美特徵以及筆者的創作加以分析。在此基礎上闡釋敦煌藝術從傳統壁畫藝術再生為現代藝術所體現出的美學精神。剖析敦煌壁畫蘊涵的思想底蘊以達到對敦煌藝術美學精神的認識，靈活運用於現代藝術創作，並將傳統文化再現、傳承。As an important part of Dunhuang art, Dunhuang murals blend the advantages of the East and the West and form their own system, enabling people to appreciate the unique visual beauty of “The sky clothes are flying; the walls are full of wind.” The artistic attainments, social customs and religious beliefs presented by Dunhuang murals in different periods are full of the times and are a rich source for modern art.Starting from “The sky clothes are flying, the walls are full of wind”, this paper studies the visual confluence and aesthetic spirit of Dunhuang murals, as well as the cultural inheritance that they provide, as reflected in application to modern art creation. An analysis is presented of the formal characteristics of Dunhuang frescoes in visual discourse, comparing the aesthetic differences between Eastern and Western art, and exploring the aesthetic spirit of Dunhuang fresco art through the different aesthetic perspectives of Eastern and Western approaches to art. The author explores the ideological connotations of “harmony between man and nature” in the Dunhuang mural “The sky clothes are flying, the walls are full of wind”: presenting a fresh examination of the visual vocabulary of Dunhuang murals, the important contribution of Dunhuang murals to traditional culture, and the unique aesthetic value reflected in application to modern art (characteristic differences between the East and the West). The author also considers the following: the visual form of modern art through traditional Taoist thought represented by Laozhuang and rational spirit in a religious atmosphere; the modern thinking reflected in oriental art through the aesthetic culture of Dunhuang murals and presentation of Buddhist spirit in Dunhuang art; and the social microcosms symbolized in modern art and displayed in Dunhuang murals, signaling changes associated with the times.The art of Dunhuang is a blend of Confucianism, ancient Indian Buddhism, Taoism and other cultures, transforming and absorbing the inheritance from different sources to create a unique style of art that draws on the strengths of different cultures; remaining true to its own cultural identity and being nurtured by modern art at a time of rapid development. This paper analyzes the aesthetic characteristics of the visual vocabulary of Dunhuang murals in modern art as well as the author’s own creations. On this basis, it explains the aesthetic spirit of Dunhuang art from traditional mural art to modern art, analyzing the ideological details contained in Dunhuang murals in order to achieve a deeper understanding of the aesthetic spirit of Dunhuang art, flexibly applied to creation of modern art and the reproduction and inheritance of traditional culture.