| 承德普宁寺十八罗汉壁画晕染手法浅论 |
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| 引用本文： | 姚崇维.承德普宁寺十八罗汉壁画晕染手法浅论[J].承德师专学报,2003,23(3):33-35. |
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| 作者姓名： | 姚崇维 |
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| 作者单位： | 承德市文物局避暑山庄研究所 河北 |
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| 摘 要： | 承德普宁寺十八罗汉壁画运用了晕染的表现手法,并有自己的特色,对塑造艺术形象、加强色彩对比起到了重要作用,体现了中国宗教壁画的发展,体现了中外文化的融合以及中国内部汉、满、藏文化融合,具有丰富深邃的内涵。
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| 关 键 词： | 承德普宁寺 十八罗汉壁画 晕染 |
| 文章编号： | 1005-1554(2003)03-0033-03 |
| 修稿时间： | 2003年1月12日 |
The Skill of Polishing a Paintings with Water in the Murals of the Eighteen Arhats in the Temple of Universal Peace of Chengde |
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| YAO Chong-wei.The Skill of Polishing a Paintings with Water in the Murals of the Eighteen Arhats in the Temple of Universal Peace of Chengde[J].Journal of Chengde Teachers College for Nationalities,2003,23(3):33-35. |
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| Authors: | YAO Chong-wei |
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| Abstract: | The skill of polishing a painting with water has been widely used in the Murals of the Eighteen Arhats in the Temple of Universal Peace of Chengde, it also has its own features. It played an important role in portraying the artistic images and the contrast of colors. It embodies the development of the Chinese religious fresco and the fusion of the Chinese and foreign cultures. It is a merge of the Chinese culture of Han, Manchu and Tibetan nationalities with its abundant and profound connotation. |
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| Keywords: | the Temple of Universal Peace of Chengde the Murals of the Eighteen Arhats the skill of polishing a painting with water |
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