敦煌北凉三窟壁画的西域风格及本土化研究

发布时间：2018-04-25 14:29

本文选题：莫高窟 + 北凉　；参考：《中国国家博物馆馆刊》2013年02期

【摘要】：文章从美术学的角度分析了北凉时期莫高窟壁画的来源、风格及在整个敦煌艺术中的地位。从来源上说,北凉壁画在很大程度上与周边地区更早更成熟的石窟壁画有密切关系,如吐峪沟壁画、天梯山石窟壁画以及更遥远的西域壁画。作为起始阶段,北凉壁画的主要任务是完善其内容和形式。在禅学的共同主题下,北凉敦煌壁画从以下几个方面进行了吸收和借鉴:一是表现禅学思想的绘画题材,二是西域样式的人物形象,三是以"凹凸法"为主的表现手法。同时,北凉壁画并没有照搬其他壁画,而是形成了自己的样式,主要表现在以下几个方面:一是洞窟壁画的布局,二是千佛在壁画中的地位,三是菩萨审美风格的确立。它们奠定了敦煌壁画的基本框架和风格,也是敦煌壁画本土化进程的基础。
[Abstract]:From the angle of art, the article analyses the origin, style and status of Mogao Grottoes murals in the northern cold period. From the source, the northern cool fresco is closely related to the earlier and more mature grotto murals in the surrounding areas, such as the mural paintings of the Puyu Valley, the grottoes murals in the Tian Tian Mountain and the more remote western region murals. In the beginning stage, the main task of the northern cool fresco is to improve its content and form. Under the common theme of Zen Buddhism, the murals in northern Liang Dunhuang are absorbed and learned from the following aspects: one is the painting subject of Zen thought, the two is the character image of the western region, the three is the expressive technique based on the "concave and convex law". Instead of copying other murals, they have formed their own style, mainly in the following aspects: first, the layout of the cave frescoes, the two is the position of the Thousand Buddhas in the murals, and the three is the establishment of the aesthetic style of the Bodhisattva. They have laid the basic frame and style of the Dunhuang murals, and the foundation of the localization process of the murals in Dunhuang.

【作者单位】：北京画院;
【分类号】：K879.41;J218.6

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