论安岳石窟艺术菩萨璎珞设计

Bodhisattva Necklace Design of the Anyue Grotto Art

目的安岳石窟之古、多、精、美,是南方石窟艺术鼎盛时期的代表。璎珞作为菩萨重要的装身饰物,提取和运用其造型和纹样具有重要意义。方法在田野调查的基础上,对安岳境内菩萨璎珞的造型及纹样进行系统的归纳整理及分析,进一步与敦煌石窟、龙门石窟、大足石刻的菩萨璎珞对比,最后提炼安岳石窟菩萨璎珞的造型及纹样并运用到首饰设计中,以发挥传统文化的余热。结论由于地域、民俗风情的不同,安岳石窟菩萨璎珞在各时代不断变化,璎珞在不断与中国文化相融合,并融入地方民俗文化。深入挖掘安岳石窟菩萨璎珞的价值,运用到设计中,使传统民族艺术转化为新的设计力量。

Anyue Grottoes is an agglomeration of antique, variety, delicacy and beauty, which is the representative of the heyday of grotto art in the south. As an important body ornament of Bodhisattva, it is of great significance to extract and use its shape and pattern. Based on field research, the shapes and patterns of Bodhisattvas＇ necklaces in Anyue County are summarized and analyzed systematically, and are further compared with Bodhisattvas＇ necklaces in Dunhuang Grottoes, Longmen Grottoes and Dazu Rock Carvings to show the regional characteristics of Bodhisattvas＇ necklaces in Anyue Grottoes. Their values are further dug and the shapes and patterns of Bodhisattvas＇ necklaces in Anyue Grottoes are applied in design, so that the traditional culture can still contribute to the society. Due to different geographical and folk customs, Bodhisattva statues＇ necklaces in Anyue Grottoes are changed with ages, constantly combined with Chinese culture and integrated into the local folk culture. The values of Bodhisattvas＇ necklaces in Anyue Grottoes should be dug in depth and turned into new design power.