隋唐时期佛教美学视域下的寿州窑陶瓷艺术

Shouzhou Kiln Ceramic Art from the Perspective of Buddhism Aesthetics in Sui and Tang Dynasties

佛教作为印度外来宗教,自东汉传入中国,积极与中国传统文化本土宗教融合发展,最终于隋唐时期基本完成中国化改造并迎来发展的鼎盛时期,寿州窑陶瓷艺术经过不断积累也在唐朝中期达到顶峰。通过对隋代戳印莲花纹四系盘口壶、唐代黄釉璧形底盏、唐代黑釉象形瓷枕三件寿州窑陶瓷艺术作品进行研究分析,刨析佛教美学在隋唐时期的发展以及在寿州窑陶瓷艺术上的体现,探究寿州窑陶瓷艺术背后所蕴藏的佛教思想、佛教文化和佛教色彩,以促进佛教文化和寿州窑陶瓷艺术在当代的协同发展。

Buddhism,as a foreign religion of India,was introduced into China from the Eastern Han Dynasty and actively integrated with the local religions of Traditional Chinese culture for development.In the sui and Tang Dynasties,It basically completed the Transformation of Chinese culture and ushered in the heyday of development.After continuous accumulation,The ceramic art of Shouzhou Kiln reached its peak in the middle Tang Dynasty.This article through to the sui dynasty seal lotus pattern of quaternary dish pot,yellow glazed wall form bottom lamp in tang dynasty,tang dynasty black glaze porcelain pillow shape three life of state kiln ceramic art works for research analysis,at the development of buddhist culture in the sui and tang dynasties,as well as on the life of the state kiln ceramic art,explore the life of the state kiln ceramic art behind by Buddhism,buddhist culture and color,in order to promote buddhist culture and life of the coordinated development of ceramic art in the contemporary state kiln.