摘要
宗教与政治历来密不可分，宗教在促进民族融合上有其突出的作用，有清一代，藏传佛教被视为一种特殊的统治手段应用到了政治生活中，作为统治阶级的统治秩序和统治方式。宗教也依靠统治者的庇护得到了空前的发展，清代藏传佛教格鲁派在当时的社会条件下一跃成为最大教派，在北京广建寺院，传播藏传佛教文化。清代敕建藏传佛寺作为一种特殊的建筑形式，不同于一般的佛教寺庙，其一是采用藏传佛寺建筑，故运用很多藏传佛教文化的装饰风格，其二是隶属皇家敕建建筑，等级较高代表皇家天威，故而在寺院建筑彩画中，很多细节运用到皇家元素来装饰。
本文运用历史、社会、建筑、文化等多重学科视野，将清代北京敕建藏传佛寺的建筑彩画研究放到时代背景以及社会环境中，以福佑寺建筑彩画为例，探究藏传佛教文化的传入对建筑彩画构图布局、纹饰图样、色彩搭配方面的影响，力争通过对福佑寺建筑彩画的深入研究，运用对比分析的手法，展现福佑寺现存建筑彩画的各个特点，并详细研究寺内各建筑中包含的普遍特征及细微差别。最终总结清代敕建藏传佛寺建筑彩画的美学、文化价值，以及其古为今用的前景。近年来对建筑遗产的关注热度持续上升，在建筑遗产保护与利用的研究背景下，深入研究福佑寺的建筑彩画遗存，以期能填补清代敕建藏传佛寺建筑研究的空白，为以后的古建筑彩画研究记录和保护修缮提供基础资料。
本文的研究框架分为四个部分。首先是界定研究对象（第一章），总结清代北京敕建藏传佛寺建筑彩画
的研究背景、目的意义、研究内容、研究方法；其次是分析背景研究（第二章），梳理清代北京藏传佛教发展脉络，研究社会背景及政策扶持，统计清代北京藏传佛寺的分布及现存的敕建藏传佛寺，研究清代北京藏传佛教文化的输入对社会及建筑彩画产生的影响，以福佑寺为例研究现存建筑的彩画形制；然后是进行特征研究（第三、四、五章），研究清代北京敕建藏传佛寺彩画的构图布局、纹饰图样、色彩搭配的特征，分析藏传佛教文化及皇家敕建这两方面因素对福佑寺建筑彩画的影响；最后是总结提升（第六章），总结清代北京敕建藏传佛寺建筑彩画的美学及文化价值，以及其古为今用的前景。
关键词：清代敕建、藏传佛寺、福佑寺、建筑彩画
Abstract
Religion and politics have always been inparable.Religion plays an important role in promoting national integration.In the Qing Dynasty,Tibetan Buddhism was regarded as a special means of governance applied to political life,as the ruling order and mode of the ruling class.Religion also developed unprecedentedly under the protection of the rulers.In Qing Dynasty,the Gelug Sect of Tibetan Buddhism became the largest ct under the social conditions at that time,and built temples in Beijing to spread Tibetan Buddhism culture.As a special architectural form,the construction of Tibe
tan Buddhist temples in the Qing Dynasty is different from the general Buddhist temples.One is the construction of Tibetan Buddhist temples,so it us a lot of decorative styles of Tibetan Buddhist culture.The other is that the higher level of royal architecture reprents the Royal momentum.Therefore,in the temple architectural color paintings,many details are decorated with royal elements.
In this paper,from the perspective of history,society,architecture,culture and other disciplines,we put the rearch on the architectural color painting of building Tibetan Buddhist temples in Beijing in Qing Dynasty into the background of the times and the social environment.Taking the architectural color painting of Fuyou temple as an example,we explore the influence of the introduction of Tibetan Buddhist culture on the composition,layout,pattern and color matching of architectural color painting, and strive for the influence of components on the architectural color painting of Fuyou temple Through in-depth study and comparative analysis,we can show the characteristics of the existing architectural color paintings of Fuyou temple,and study the general characteristics and subtle differences contained in the buildings of the temple in detail.Finally,it summarizes the aesthetic and cultural value of the color paintings in the construction of Tibetan Buddhist temples in the Qing Dynasty,as well as the prospect of making the past rve the prent.In recent years,the focus on ar
chitectural heritage continues to ri.In the context of the rearch on the protection and utilization of architectural heritage,in-depth study on the remains of architectural color paintings of Fuyou temple is expected to improve the rearch gap in the construction of Tibetan Buddhist temples in the Qing Dynasty,and provide basic information for the future rearch records and conrvation and repair of ancient architectural color paintings.
The rearch framework of this paper is divided into four parts.First,define the rearch object(Chapter1),summarize the rearch background,purpo, significance,rearch content and rearch methods of the color paintings of the Tibetan Buddhist temples built in Beijing in Qing Dynasty;cond,analyze the background rearch(Chapter2),sort out the development context of the Tibetan Buddhism in Beijing in Qing Dynasty,study the social background and policy support, and make statistics of the distribution of the Tibetan Buddhist temples and the existing Tibetan temples built in Beijing in Qing Dynasty Chuanfo temple,to study the
老鼠的英文怎么写influence of the input of Tibetan Buddhism culture in Beijing in Qing Dynasty on the society and the color painting of architecture,take Fuyou temple as an example to study the color painting form of the existing architecture;then,to carry out characteristic rearch(Chapter3,4,5),to study the composition layout,pattern, color matching characteristics of the color painting of the Tibetan Buddhi
st temple built in Beijing in Qing Dynasty,to analyze the Tibetan Buddhism culture and the royal architecture The influence of the two factors on the architectural color painting of Fuyou temple;the last part is the summary and promotion(Chapter6),it summarizes the aesthetic and cultural value of the architectural color painting of the Tibetan Buddhist temple built in Beijing in the Qing Dynasty,as well as its future for the prent.
Key words:Imperial construction in Qing Dynasty,Tibetan Buddhist temple, Fuyou temple,architectural color painting
目录
摘要..............................................................................................................I 目录..............................................................................................................I 第一章绪论 (1)
1.1研究的背景、目的与意义 (1)
1.1.1研究的背景 (1)
1.1.2研究的目的与意义 (2)
纸风筝怎么做1.2文献综述 (2)
1.2.1相关著作 (2)
1.2.2相关论文 (3)
1.3研究内容 (4)
1.4研究方法 (5)
1.4.1文献档案研究清代北京敕建藏传佛寺建筑彩画 (5)知足常乐的名言
1.4.2实地勘查敕建藏传佛寺福佑寺的建筑彩画 (5)
1.4.3归纳清代北京敕建藏传佛寺建筑彩画特征 (5)
1.5研究框架 (6)
第二章清代北京敕建藏传佛寺建筑彩画的背景研究 (7)
2.1清代北京藏传佛教的历史沿革及产生影响 (7)
2.1.1萌芽期：努尔哈赤至顺治藏传佛寺的初建 (7)
2.1.2成熟期：康雍乾时期藏传佛寺的兴盛 (8)
2.1.3衰败期：嘉庆至宣统藏传佛寺的没落 (12)
2.1.4清代北京藏传佛教文化输入及产生影响 (14)
2.2清代北京藏传佛寺的分布 (16)
2.2.1北京老城区的藏传佛寺 (17)
2.2.2北京近郊的藏传佛寺 (19)
2.2.3北京现存的敕建藏传佛寺 (22)
2.3清代北京敕建藏传佛寺建筑彩画的形制——以福佑寺建筑彩画为例 (22)
2.3.1藏传佛教寺院——福佑寺的历史沿革 (22)
2.3.2敕建皇家寺院——福佑寺建筑的平面布局 (25)
天机不可泄漏
2.3.3建筑彩画形制——福佑寺建筑的现存彩画 (27)
大年初一拜年2.4本章小结 (33)
第三章清代北京敕建藏传佛寺建筑彩画的构图特征研究 (35)
3.1清代北京藏传佛教文化对敕建藏传佛寺建筑彩画构图的影响 (35)
3.1.1彩画整体木构件的构图布局 (35)
3.1.2彩画方心式的构图布局 (37)
3.2线面结合的构图特征 (39)
3.2.1彩画方心的线条与平面的结合 (39)
3.2.2彩画找头的线条与平面的结合 (41)
3.3对称平衡的构图特征 (44)
吴喜之3.3.1单个木构件的对称平衡特征 (44)
3.3.2多个木构件相互的对称平衡特征 (45)
3.4比例协调的构图特征 (46)
3.4.1木构件整体长宽协调的构图 (46)
3.4.2木构件细部长宽协调的构图 (48)
3.5本章小结 (54)
第四章清代北京敕建藏传佛寺建筑彩画的纹饰特征研究 (56)
4.1清代北京藏传佛教文化对敕建藏传佛寺建筑彩画纹饰的影响 (56)
4.1.1藏传佛教文化里常见的纹饰 (56)
4.1.2藏传佛教纹饰在彩画里的运用 (56)
4.2典雅旋花：青绿相间的纹饰特征 (57)
4.2.1基础的单路瓣旋花（“金道观”） (58)
4.2.2灵活的“勾丝咬” (58)
4.2.3巧妙的“喜相逢” (59)
4.2.4规整的“一整两破” (61)
4.3金龙飞舞：皇权至上的纹饰特征 (62)
4.3.1方心、天花的二龙戏珠 (64)
4.3.2找头的升龙、降龙 (65)
4.3.3盒子的坐龙、夔龙 (65)
bagpack4.3.4平板枋的跑龙 (67)
4.4吉庆祥瑞：藏传佛寺的纹饰特征 (67)
4.4.1满族特色的三宝珠吉祥草 (67)
4.4.2多子多福的西番莲卷草 (68)
4.4.3真如佛性的金刚宝杵法轮 (68)
4.4.4淡雅清新的花卉和锦文 (70)
4.5时代明显：清早中期的纹饰特征 (71)
4.5.1和玺彩画 (72)
4.5.2旋子彩画 (72)
4.6本章小结 (73)
第五章清代北京敕建藏传佛寺建筑彩画的色彩特征研究 (75)
5.1清代北京藏传佛教文化对敕建藏传佛寺建筑彩画色彩的影响 (75)
5.1.1淡雅的旋子彩画：青蓝、碧绿 (75)
5.1.2绚丽的和玺彩画：金色、大红 (76)
5.2青绿相间：宁静平和的色彩特征 (77)
5.2.1典雅高贵，沉稳青蓝 (77)
5.2.2淡雅清新，生机碧绿 (77)
5.3金碧辉煌：皇家等级的色彩特征 (78)
怦的组词
5.3.1金线大点金旋子彩画金色施用 (78)
