论入定观音像的形成与发展.docVIP

论入定观音像的形成与发展 文档信息 ： 文档作为关于“文学、艺术、军事或历史”中“书画美术”的参考范文，为解决如何写好实用应用文、正确编写文案格式、内容素材摘取等相关工作提供支持。正文23215字，doc格式，可编辑。质优实惠，欢迎下载！ 目录 TOC \o 1-9 \h \z \u 目录 1 正文 2 文1：论入定观音像的形成与发展 2 （一）两件典型实例分析 4 （二）入定观音像造型形成过程 6 二 南宋、元代入定观音像 8 （一）文献史料 8 （二）实物资料 9 1. 绘画类 10 2. 雕塑（附线刻）类 11 三 明清时期入定观音像 14 （一）文献资料 15 （二）实物资料 15 1. 绘画类 15 2. 线刻类 18 3. 雕塑类 19 四 结 语 20 文2：论现代景观科学的形成与发展 23 1　景观地理学的源流 24 2　景观地理学的推陈出新 26 3.1　景观系统的整体性和景观要素的异质性 27 3.2　景观研究的尺度性 28 3.3　景观结构的镶嵌性(Mosaic) 29 3.4　生态流的空间聚集与扩散 29 3.5　景观演化的不可逆性与人类主导性 30 3.6　景观价值的多重性 31 参考文摘引言： 32 原创性声明（模板） 32 文章致谢（模板） 32 正文 论入定观音像的形成与发展 文1：论入定观音像的形成与发展 Abstract： Images of Guanyin （Avalokitesvara） with her head covered sitting in the dhyana posture（i.e. seated in meditation） fit appeared in the late Northern Song dynasty when Zen Buddhism entered a period of rapid development. This image was originally derived from monks sitting in meditation and was given the meaning of dhyana （sitting meditation） and prajna（wisdom）， the theme gained popularity in the Northern and Southern Song dynasties and soon spread into the region south of the Yangtze River， though by the time of the Southern Song dynasty， the figure of Guanyin began to be attributed various decoratio like the coronets and jade necklaces. When the spread of these images reached Jiangxi， Zhejiang， Sichuan， and Chongqing where Zen Buddhism was already well developed， it was taken up by local folk artists and disseminated even further into the popular culture of the time. In the Ming and Qing dynasty， this type of Guanyin image gained in diveity but came to be characterized mainly by the positioning of the two hands in dhyana-mudra and the separation of the cloak and garments. Over the coue of its development through history， the theme of Guanyin sitting in meditation gradually combined with those of the Water-and-Moon Guanyin and Purple-Bamboo Guanyin as well as the sixteen arhats， largely as a result of the