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敦煌西魏畫風新詮 -- 以莫高窟第285窟工匠及粉本問題為核心=A New Interpretation of the Western Wei (535-556) Painting Style of the Mogao Grottoes -- Focusing on the Artisans and Drafts of Cave 285 |
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Author |
張建宇 (著)=Zhang, Jian-yu (au.)
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Source |
敦煌研究=Dunhuang Research
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Volume | n.2 (總號=n.150) |
Date | 2015.04 |
Pages | 4 - 14 |
Publisher | 敦煌研究編輯部 |
Publisher Url |
http://www.dha.ac.cn/
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Location | 蘭州, 中國 [Lanzhou, China] |
Content type | 期刊論文=Journal Article |
Language | 中文=Chinese |
Note | 作者單位:中國人民大學藝術學院暨佛教藝術研究所 |
Keyword | 敦煌壁畫=Mogao Grottoes; 空間表現=spatial representation; 漢化=sinicization; 粉本=draft; 石窟考古與藝術 |
Abstract | 北魏漢化改制帶給佛教美術的影響,除人物形象("秀骨清像")和衣冠制度("褒衣博帶")外,還表現為對山水場景的偏好以及空間再現技藝的漸趨成熟,因此是一次內在的"視覺方式"的轉變;敦煌西魏壁畫呈現出表現空間進深的初步嘗試。共有三個工匠集團參與第285窟繪制:西壁由第一工匠集團完成,圖像內容和畫風具有強烈的西域風;第二工匠集團繪制東壁及北壁,盡管人物造型和服飾都采用漢化樣式,但匠師未能理解中原畫稿表現空間進深感的意圖;繪制南壁的工匠集團真正掌握了再現三維場景的技巧。北周第290、296窟壁畫與西魏第285窟南壁運用了相同的粉本,很可能出自同一工匠集團(或有傳承關系的工匠集團)之手。
The effect of sinicization during the Northern Wei dynasty(386-557) on Buddhist Art can be seen in the characters’ appearances, costumes and chapeaux as well as on the preference for landscape scenes and growing spatial representation skills, which can be regarded as an internally visual transition. Dunhuang murals during the Western Wei dynasty show an initial attempt to represent depth in space. Three groups of artisans participated in creating the murals of Mogao Cave 285. One group painted the west wall, which shows an obvious influence from the west both in content and style; the second group painted the north and east walls,which fails to represent depth of space, though the characters and dresses are of Chinese style; and the third group painted the south wall, which exhibits a mature technique of representing three-dimensional scenes. Thedrafts of caves 290 and 296 from the Northern Zhou dynasty(557-581) have the same origins as those of cave285, suggesting they could probably have been made by the same artisans. |
ISSN | 10004106 (P) |
Hits | 155 |
Created date | 2016.06.04 |
Modified date | 2018.05.28 |
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