本文關(guān)鍵詞：北朝刻碑之風(fēng)盛行原因考論，由筆耕文化傳播整理發(fā)布。

網(wǎng)友lu37777353近日為您收集整理了關(guān)于北朝刻碑之風(fēng)盛行原因考論（藝術(shù)）的文檔，希望對(duì)您的工作和學(xué)習(xí)有所幫助。以下是文檔介紹：山西師范大學(xué)碩士學(xué)位論文北朝刻碑之風(fēng)盛行原因考論姓名:胡俊樂(lè)申請(qǐng)學(xué)位級(jí)別:碩士專業(yè):美術(shù)學(xué)指導(dǎo)教師:楊吉平20120606中文摘要論文題目:北朝刻碑之風(fēng)盛行原因考論專業(yè):美術(shù)學(xué)碩士生:胡俊樂(lè)指導(dǎo)教師:楊吉平簽名簽名摘要在我國(guó)歷史上,南北朝時(shí)期是一個(gè)動(dòng)蕩的時(shí)期,戰(zhàn)亂頻仍,帝祚屢更,百姓苦不堪言。但是這個(gè)變亂的時(shí)代卻促使了同時(shí)期文化的興盛與藝術(shù)的繁榮,最明顯的莫過(guò)于北朝之刻碑。由于北魏立國(guó)最久,所以,北碑又稱為魏碑,魏碑成為北朝刻石書(shū)法的通稱。北朝時(shí)期,刻碑蔚然成風(fēng),大體可分為碑刻、墓志、造像題記和摩崖刻石四種。其興盛時(shí)期為公元439年北魏孝文帝遷都洛陽(yáng)之后,開(kāi)始推行一系列的“漢化”政策。孝文帝漢化改革中最重要的就是提倡書(shū)寫(xiě)漢文字,他沉酣于書(shū)法,廣豎碑石紀(jì)文,并且大力提倡民間刻碑紀(jì)事,所以在中原各地留下了大量的民間書(shū)法碑刻作品。由此可見(jiàn),北朝有著廣泛的書(shū)法社會(huì)基礎(chǔ),民間書(shū)家與士族書(shū)家,甚至全社會(huì)都承認(rèn)書(shū)法的地位。北朝士族重厚葬,或褒揚(yáng)先世,或顯露家業(yè),立碑亦甚多。北朝期間佛教也很興盛,孝文帝又尊佛尚道,從行政上給予刻立碑碣極大鼓勵(lì),一度佛寺遍天下,碑碣無(wú)數(shù),同時(shí)促進(jìn)了造像題記與摩崖刻經(jīng)的興起,一時(shí)間刻碑風(fēng)氣愈演愈烈�，F(xiàn)存魏碑作品的種類數(shù)量巨大,僅僅發(fā)現(xiàn)于龍門(mén)石窟的造像記,就有數(shù)千方,而北朝的墨跡***卻絕少。北朝大量的碑刻作品構(gòu)成了北朝龐大的石刻體系,無(wú)疑成為書(shū)法史上一個(gè)巨大的藝術(shù)寶庫(kù)。但其藝術(shù)價(jià)值卻長(zhǎng)期未被重視,直到清代以后,阮元倡導(dǎo)“南帖北碑”的說(shuō)法后引起書(shū)法界的關(guān)注,而后又有包世臣、康有為等學(xué)者的附和與贊賞,一時(shí)間北碑書(shū)法名氣大盛。當(dāng)前,我國(guó)書(shū)法領(lǐng)域研究北朝的書(shū)法主要是研究其書(shū)法藝術(shù)風(fēng)格,而很少探究北朝刻碑之風(fēng)的原因所在,所以不能充分了解其書(shū)法風(fēng)格的形成。本文從北朝時(shí)期刻碑之風(fēng)盛行的原因著手研究,對(duì)大量的碑刻作品進(jìn)行了更深一步的探索,從政治制度、社會(huì)環(huán)境、書(shū)法基礎(chǔ)、宗教影響等因素對(duì)書(shū)法風(fēng)格的成因及其演變進(jìn)行分析。充分了解其書(shū)法風(fēng)格的形成,使人們對(duì)魏碑書(shū)法藝術(shù)有了更進(jìn)一步的了解。本文通過(guò)對(duì)這一領(lǐng)域的研究,希望能使我國(guó)書(shū)法界對(duì)北朝碑刻書(shū)法藝術(shù)能夠重新審視,充分認(rèn)識(shí)其價(jià)值。山西師范大學(xué)學(xué)位論文Ⅱ【關(guān)鍵詞】北朝刻碑漢化政策佛教魏碑【論文類型】基礎(chǔ)研究英文摘要Title: An Exploration on Reasons of Stone Sculpnlr.es’PreValence inNorthen DynastyMajor:Fine ArtsName:Hu JunleSuperVisor:Y.ang JipingAbstractSignaturSignaturI n Chinese history,the Southen and Northen Dynasties were aturbuIent period in whiCh States、Ⅳere often at war with each othebemper口rS were Changed frequentIy and people suff_ered more misery:But it was a time for the booming of art at that period.The mostremarkabIe YVas stone scuIptures in Northen Dynasty-Because of theIongest history of Northen Wel,it VVas aIso ca¨ed stone scuIptures inWei which、ⅣaS a.generaI term for Stone SCUIptureS at that time。lnNorthen DynaSty;Stone scuIptureS had e mon practiCe.Genera¨y;it can be diVjded into f6ur types:scuIptures on monument,epigraph,insCrjptions and Moya CIiff CarVing.1t preVailed jn 439 BC when the emperor Xiao in Norten DynastyremoVed the capitaI to Luoyang and p陽(yáng)moted some-Chinesize刀po¨Cy.The most inportant in hiS reVoIution waS adVocating to wrjteChinese characters.He was addicted to handwriting,estab¨shedstone SCuIptureS wideIy and Suggested peopIe to note importantthingS with Stone scuIptUreS,which resUIted in Some handwritingIⅡ山西師范大學(xué)學(xué)位論文works of scuIptures Ie住in peopIe.From aboVe expIaination,we canknow that there waS wide handwriting basis. RegardIesS ofhandwriters in peopIe or impericaI paIace,they a¨admitted theposition of handwriting. In Northen Dynasty, emperors paidattention to be buried with moSt valuabIe thingS So more StoneScuIptures were estab¨Shed.Buddism was aISo popuIar at that timeand the emperor Xiao Showed more enCouragement to eStab¨shingStone SCulptUreS.Therefore, the buddiSt templeS Can be SeeneVen胛here and epigraph were numorous.Meanwhile,it promotedthe upsurge of inscription and Moya C¨ff carVing.The tendency ofstone scuIpture was ing increasingIy fierce.The types ofStone ScuIptureS exiSted are VariouS.onIy in Longmen Gottoes,there are thouSandS of inscr-ptureS whiIe in nonh the nUmber iSIeSS.Most works on Stone ScuIptureS in Northe

12>

  本文關(guān)鍵詞：北朝刻碑之風(fēng)盛行原因考論，，由筆耕文化傳播整理發(fā)布。