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敦煌隋朝經變畫藝術=The Art of Dunhuang Sutra Illustrations in the Sui Dynasty |
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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.3 (總號=n.169) |
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| Date | 2018 |
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| Pages | 1 - 8 |
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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 | 作者單位：敦煌研究院研究員、副院長 |
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| Keyword | 隋朝=Sui dynasty; 敦煌=Dunhuang; 壁畫=mural; 經變畫=sutra illustration; 藝術=art |
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| Abstract | 本文基於對隋朝敦煌壁畫中經變畫的全面調查,試圖對隋朝經變畫在表現技法的發展等方面進行闡釋。隋朝的經變畫從表現形式上分為四類,1.長卷式構圖;2.單幅結構;3.對稱構圖;4.以說法場面為中心的中軸對稱構圖。其中第四類成為唐代以後最流行的構圖形式。這一形式在隋朝的最終形成,源於六朝以來山水畫、建築畫的發展而帶來的空間表現技法的成就,而經變畫的發展也推動了後來大畫面經變中空間表現的日益成熟。
Based on a comprehensive investigation of the sutra illustrations in the Tang dynasty wall paintings at Dunhuang, this paper studies and explains the developments in expressive technique these paintings show. These illustrations can be divided into four categories of composition: 1) long scrolls with multiple scenes; 2) single pictures; 3) symmetrical compositions; and 4) symmetrical compositions focused around a central preaching scene. The fourth among these became the most popular in the Tang dynasty. This type took shape during the Sui dynasty and originated from spatial painting techniques as a result of the development of landscape and building pictures from the Six Dynasties, which combined with concurrent developments in sutra illustration to advance the spatial depictions of large-scale sutra illustrations for ages to come. |
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| Table of contents | 一 長卷式構圖的經變畫 3
二 單幅結構的經變畫 4
三 對稱構圖的經變畫 4
四 以說法場面為中心的經變畫 5
五 隋朝經變畫的空間表現 7
(一) 建築的空間表現 7
(二) 人物組合的空間表現 7
(三) 近大遠小法則的運用 8
六 小結 8 |
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| ISSN | 10004106 (P) |
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| Hits | 569 |
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| Created date | 2020.10.23 |
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