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出土于西尓卡普的阿弗洛狄忒金质胸针与出土于青海的唐代羽人瓦当,二者皆为有翼人像的装饰物。笔者通过梳理比较二者的艺术风格特征、含义、时代背景三个方面,得出二者在艺术风格特征方面有相近之处,即在二者身上共有着1世纪犍陀罗艺术的风格特征。但它们之间的含义与时代背景有异,1世纪的阿弗洛狄忒金质胸针的图像含义是逝去之人灵魂再生的象征,而唐代青海羽人瓦当所隐含的寓意有几个方面,按迦陵频伽的含义解释便为一、接引逝者去往西方极乐世界;二、给亡者提供美妙的音乐;三、佛音;四、所在建筑为净土道场。另外一个含义是对佛的伎乐供养。在对二者含义论证的同时,梳理出二者的艺术渊源,特别是对唐代青海羽人瓦当艺术渊源的探究。
Aphrodite gold brooch excavated in Xipi Kapu and the feather watts of the Tang Dynasty unearthed in Qinghai, both of which are decorative figures of the winged portraits. By combing and comparing the two artistic styles, their meaning and the background of the times, the author concludes that the two are similar in artistic style and characteristics, that is, they share the style features of the first century Gandhara art. But the meaning between them is different from the background of the times. The image meaning of the gold plated brooch in the first century is a symbol of the soul regeneration of the lost person. There are several implied meanings in the Qing Dynasty featherman Wadang in the Tang Dynasty According to the meaning of the frequency of Jia Ling frequency explanation is one, then cited the deceased went to the Western Paradise; Second, to provide wonderful music for the dead; Third, the Buddha; Fourth, where the building is the Pure Land Dojo. Another meaning is to provide support for the buddha. While arguing the meanings of the two, we can sort out the artistic origin of the two, especially the exploration of the artistic origin of Wadang in Qinghai Province during the Tang Dynasty.