| 论大足石刻艺术与环境的自然相生 |
| |
| 引用本文： | 龙红.论大足石刻艺术与环境的自然相生[J].大连大学学报,2007,28(2):103-107. |
| |
| 作者姓名： | 龙红 |
| |
| 作者单位： | 重庆大学,人文艺术学院,重庆,400044 |
| |
| 摘 要： | 大足石刻中的经典巨作之一——宝顶山石刻,与印度阿旃陀石窟构筑状况基本一致。艺术与环境的自然相生是众石窟追求的创造目标,但是,大足宝顶山石刻于此表现得更为突出,主要体现于三个方面:取境、借境和造境,将艺术之美自然发挥到了淋漓尽致的崇高境界,成为了石窟寺园林艺术杰出代表。
|
| 关 键 词： | 大足宝顶山石刻 取境 借境 造境 |
| 文章编号： | 1008-2395（2007）02-0103-05 |
| 收稿时间： | 2006-08-24 |
| 修稿时间： | 2006年8月24日 |
Discussion on the Relationship between Dazu Grottos and their Natural Environment |
| |
| LONG Hong.Discussion on the Relationship between Dazu Grottos and their Natural Environment[J].Journal of Dalian University,2007,28(2):103-107. |
| |
| Authors: | LONG Hong |
| |
| Abstract: | Baodingshan Grotto is one of the most outstanding works of Chongqing Dazu Grottos.It is similar to Ajanta Caves in India.The construction of Dazu grottos seeks after concordant relation between them and the natural environment,and Baodingshan Grotto is the most successful.First,it chose a proper position as the construction site.Second,it borrowed scenery from its natural environment.Third,it created a man-made environment. |
| |
| Keywords: | Dazu Baodingshan grotto choosing a proper position in the natural environment borrowing scenery from the natural environment creating a man-made environment |
| 本文献已被 CNKI 维普 万方数据 等数据库收录！ |
|
