长治观音堂明代彩塑造型艺术审美探析

山西长治观音堂明代彩塑是在多教建构的宗教意识与文化语境中确立的庙宇彩塑的典型代表。其彩塑艺术在史学上反映出不同历史时期沿革流变后的审美特征与人文世态,在艺术造型上强调了宗教信仰与民俗文化的高度融合,在理论上承载了儒、释、道＂三教合一＂互融并生的思路和定位。文章着力阐述长治观音堂彩塑在传统与外来宗教并铸而迸发出的色彩、造型及其装饰的瑰丽之美。

Aesthetic Analysis of Painted Sculpture of the Ming Dynasty of Changzhi Guanyintang

Shanxi Changzhi Guanyintang Ming dynasty painted sculptures is a typical representative of the religious consciousness and cultural context of the construction of multi-taught painted sculptures temple. Its painted sculptures art historians reflect on the evolution of different rheological characteristics of the aesthetic and humanistic world state historical periods, at the height of the art form emphasizes the integration of religion and folk culture, in theory carries Confucianism, Buddhism and Taoism, ＇Three Religions in One ＇Fusion and raw ideas and positioning. The focus of this paper describes Changzhi Guanyintang painted sculpture in traditional and foreign religions and cast and a burst out of the color, modeling and decoration of magnificent beauty.