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初、盛唐時期敦煌壁畫中的山水表現=Manifestation of Landscapes in Dunhuang Murals in the Early Tang Dynasty |
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| 著者 |
譚惠琳 (著)=Tan, Hui-Lin (au.)
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| 出版年月日 | 2018 |
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| ページ | 102 |
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| 出版者 | 國立臺灣師範大學 |
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| 出版サイト |
https://www.ntnu.edu.tw/
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 中文=Chinese |
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| 学位 | 修士 |
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| 学校 | 國立臺灣師範大學 |
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| 学部・学科名 | 美術學系 |
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| 指導教官 | 白適銘 |
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| 卒業年 | 106 |
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| キーワード | 敦煌=Dunhuang; 初唐=Early Tang Dynasty; 盛唐=Flourishing period of Tang Dynasty; 山水=Landscape; 壁畫=Mural |
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| 抄録 | 本文以初唐、盛唐時期的敦煌石窟壁畫為研究對象，探討唐代早期敦煌壁畫中的山水表現。
首先，本文從初唐、盛唐時期壁畫山水的構成母題入手，將其拆解為山、石、樹、水和雲，分別分析其元素風格。初唐時期整體而言以暈染為主，勾線為輔，盛唐時期則繼承初唐風格，並存在複雜化的變體，加之新的風格，在石窟中都尋找到了較為合適的位置各自體現，表示此時石窟藝術富有多樣性和成熟度，形成了多元並存的局面。
其次，本文分析初唐、盛唐時期對於場景的刻畫和塑造，結合山水構成之外如人、動物、界畫、交通工具等的其他母題，參考母題分為野外、庭院和天界進行探討。進而，研究此時期空間結構的處理主要方式，涉及到窟內視線的引導，壁面內的分割，畫面內空間表現、敘事方式和視點設置，母題之間的關係等問題。再從中尋找歷史和地緣的淵源和關聯性，意在梳理此時敦煌壁畫山水的發展脈絡和所受影響，並簡單探討粉本、留白等問題。
最後，本文探討此時期敦煌壁畫山水對後世敦煌壁畫及相關山水畫作品的意義和價值。分析敦煌壁畫中的山水表現所反映的唐代畫史畫論中人們對於「山水」觀念認知。從敘事功能轉變為象徵意味，由此討論山水畫科的獨立標準。
This paper takes Dunhuang Grottoes murals in the early and flourishing period of Tang Dynasty as the research object to explore the manifestation of landscapes in Dunhuang murals in the early Tang Dynasty.
First of all, this article starts from the compositional elements of landscapes in the murals of the early and flourishing period of Tang Dynasty, and decomposes them into mountains, stones, trees, water and clouds to analyze their element styles respectively. In the early Tang Dynasty, the murals were dominated by shading, supplemented by delineating, while during the flourishing period of Tang Dynasty, the murals inherited the style in the early Tang Dynasty, where both complicated variations and new styles existed and a proper position and respective reflection were also found in the grottoes, which shows that at this time, the grotto art was rich in diversity and maturity, forming a multi-coexistence situation.
Secondly, this paper analyzes the portrayal and shaping of the environment in the early and flourishing period of Tang Dynasty. Combining with other elements such as people, animals, ruler paintings, and traffic means beyond the landscape composition, the reference motifs are divided into field, royal court and celestial temple for discussion. Furthermore, the main processing methods of spatial structure during this period are studied, involving the guidance of the sight line in the Grottoes, the segmentation within the wall surface, the spatial representation in the picture, the narrative mode, viewpoint setting, and the relationship between elements so as to find out the origin of history and geographical relationship and their relevance, with a view to sorting out the development vein of Dunhuang mural landscape and the influence it has suffered, and briefly exploring the issues of draft painting and blank space, etc.
Finally, this article explores the significance and value of Dunhuang mural landscape in this period to the later Dunhuang murals and related landscape paintings and analyzes the cognition of people to the landscape concept in the painting history and theory of Tang Dynasty reflected by the landscape manifestation in Dunhuang murals. From the narrative function converted to the symbolic meaning, the independent standards of the landscape painting branch are thus discussed. |
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| ヒット数 | 156 |
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| 作成日 | 2022.09.26 |
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| 更新日期 | 2023.01.17 |
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