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敦煌隋代山水與空間表現=The Sui Dynasty Landscapes and Their Use of Perspective at Dunhuang |
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| Author |
趙聲良 (著)=Zhao, Sheng-liang (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.5 (總號=n.135) |
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| Date | 2012.10 |
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| Pages | 16 - 21 + 130 - 132 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為敦煌研究院編輯部主任，研究員。 |
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| Keyword | 隋朝=Sui Dynasty; 敦煌壁畫=Dunhuang murals; 山水畫=Landscape; 經變畫=Sutra illustration; 空間=Perspective |
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| Abstract | 隋朝的故事畫延續了北朝以來的長卷式連環畫形式,但在山水樹木的刻畫及建筑物的表現方面,體現出對空間表現的深入。大畫面經變畫是隋代壁畫的新氣象,一方面源于當時佛教對凈土世界宣傳的需要,一方面也由于當時的繪畫對山水、建筑等風景表現的成熟,使得宏大的佛國世界表現成為可能。隋朝在山水、樹木、建筑及大畫面構圖方面都為唐代經變畫的繁榮打下了基礎。
Narrative paintings of the Sui Dynasty not only followed the Northern Dynasty form,which presented stories in long bands,but also employed perspective in landscapes and architecture.Large-sized sutra illustrations first appeared in the Sui dynasty,owing to the need to promote Pure Land Buddhism and to the maturity in representing landscapes,which made it possible to create such large illustrations.The landscapes,architecture,and large sutra compositions of the Sui Dynasty laid a firm foundation for the popularity of sutra illustrations in the Tang Dynasty. |
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| Table of contents | 一、隋朝故事畫中的山水風景與空間意識 17
二、大畫面經變畫的產生 18
三、追求空間效果是時代趨勢 19
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| ISSN | 10004106 (P) |
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| Categories | 石窟; 佛教圖像 |
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| Regions | 甘肅(敦煌) |
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| Hits | 474 |
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| Created date | 2013.08.28 |
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| Modified date | 2018.05.17 |
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