摘要
文章通过对佛教美术的产生、传入及美术形式的梳理和分析,以及以新疆龟兹石窟和敦煌莫高窟为代表的佛教石窟壁画绘画特点的探讨,论证了佛教美术对于中国画色彩的三方面影响。即蓝绿色调的传入丰富了重彩中国画的色彩体系;色彩晕染立体感的画法完善了重彩中国画晕染的绘画技法;空灵淡泊的审美情趣为文人画的产生和发展奠定了美学基础。
Based on the carding and analysis of the origin of Buddhist art, incoming and art form, and the discussion on the characteristics of the xinjiang qiuci grottoes and dunhuang mogao grottoes represented by buddhist grottoes mural painting, this paper expounds three aspects of buddhist art in traditional Chinese painting color effect： the afference of the blue-green tone enriches painting color system of the Chinese Claborate-style painting; color shading depth illustration improves the techniques of the Chinese Claborate-style painting; the ethereal and indif ferent aesthetic taste lays the aesthetic foundation of the production and development of literati paintings.
出处
《设计》
2015年第5期135-136,共2页
Design
关键词
佛教
美术
色彩
壁画
Buddhism
Fine arts
Color
Mural painting
