The bibliographic record is provided by 李玉珉老師.
|
|
|
|
印度‧衛藏‧敦煌的波羅 -- 中亞藝術風格論=The Art Style of Idian、ü-gTsang Region?Dunhuang and The Pala-Central Asia. |
|
|
|
| Author |
張亞莎
|
|---|
| Source |
敦煌研究=Dunhuang Research
|
|---|
| Volume | n.3 (總號=n.73) |
|---|
| Date | 2002.06 |
|---|
| Pages | 1 - 8 |
|---|
| Publisher | 敦煌研究編輯部 |
|---|
| Publisher Url |
http://www.dha.ac.cn/
|
|---|
| Location | 蘭州, 中國 [Lanzhou, China] |
|---|
| Content type | 期刊論文=Journal Article |
|---|
| Language | 中文=Chinese |
|---|
| Keyword | 密教; 波羅王朝=Pala dynasty; 中印交流 |
|---|
| Abstract | 衛藏的波羅 中亞藝術風格的形成與印度、敦煌佛教藝術有著相當密切的關系 ,9～ 1 1世紀間 ,西北諸族間的佛教藝術通過絲綢之路聯系起來 ,印度波羅藝術也通過這條通道進入中國 ,在敦煌留下了豐富的文化遺物。本文認為 ,波羅 中亞藝術風格的醞釀合成是由西北吐蕃完成的 ,之后又通過“下路弘法”而進入衛藏
The formation of the art style of ü-gTsang Region and the Pala-Central Asia have very close relationship to do with the Buddhist art style which were formed in Idian and in Dunhuang. It was the Silk Road that linked up all ethnical groups of the northwest China by the creation activities of Buddhist art during the 9-11th century and the Indian Pala art was introduced to China along the Silk Road too, this fact had left it behind Dunhuang rich Buddhist culture relics as a proof. This paper offers an opinion that the art style of the Pala-Central Asia was started and fulfilled by the northwest tribe of Tibetan, then, they had spread the style through the low-road into ü-gTsang Region. |
|---|
| ISSN | 10004106 (P) |
|---|
| Dynasty | 宋代 |
|---|
| Regions | 甘肅(敦煌莫高窟); 西藏(不詳); 中亞(不詳); 印度(不詳) |
|---|
| Hits | 288 |
|---|
| Created date | 2016.05.12 |
|---|
| Modified date | 2018.02.07 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
