|
|
 |
|
|
|
|
|
敦煌莫高窟唐前期正卷立體化蓮瓣紋樣分析=An Analysis of Three-Dimensional Patterns of Lotus Petals in the Dunhuang Mogao Grottoes from the Early Tang Dynasty |
|
|
|
Author |
高晏卿 (著)=Gao, Yan-qing (au.)
|
Source |
敦煌研究=Dunhuang Research
|
Volume | n.4 (總號=n.188) |
Date | 2021 |
Pages | 59 - 71 |
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 |
Note | 作者單位:筑波大學,牡丹江師范學院美術與設計學院
|
Keyword | 敦煌莫高窟=Mogao Grottoes; 寶相花=baoxiang flower; 卷草=curling vines; 正卷立體化蓮瓣=three-dimensional lotus petals |
Abstract | 敦煌莫高窟所見正卷立體化蓮瓣紋樣,以前端作三分弧形且翹起為特征。這種紋樣在唐高宗、武則天時期的兩京地區極為流行,武周及其以后逐漸減少。而在唐前期的敦煌,正卷立體化蓮瓣呈現與兩京地區同步發展的態勢,自唐前期第二期開始廣泛使用,進入唐前期第三期后以瓣代花形式不再流行,多作為卷草中的花瓣或草葉表現。
The three-dimensional patterns of lotus petals in the Mogao Caves are characterized by petals that turn up at the tops and are organized in successive arcs. This pattern was very popular in both Chang’an and Luoyang in the periods ruled by Emperor Gaozong and Empress Wu Zetian during the Tang dynasty and gradually declined after Wu Zetian’s period of reign. An identical process of development can be observed at the Mogao caves beginning in the second phase of the early Tang dynasty.Following this period, the form of using petals as an integral lotus flower declined in popularity and was replaced in the third phase of the early Tang dynasty by the petals or leaves of the flower being positioned at the center of curling vines. |
Table of contents | 一 寶相花等紋樣中所見正卷立體化蓮瓣 60 (一)藻井寶相花中正卷立體化蓮瓣 60 (二)尊像頭光、佛座寶相花中正卷立體化蓮瓣 61 (三)寶相花中正卷立體化蓮瓣與唐兩京地區的關係 63 二 卷草等紋樣中所見正卷立體化蓮瓣 65 (一)以瓣代花的正卷立體化蓮瓣 65 1. 基本型 66 2. 堆疊型 66 3. 組合型 66 (二)作為花瓣或卷草葉的正卷立體化蓮瓣 66 三 正卷立體化蓮瓣的來源 69 四 小結 70 |
ISSN | 10004106 (P) |
DOI | 10.13584/j.cnki.issn1000-4106.2021.04.008 |
Hits | 203 |
Created date | 2022.02.18 |
Modified date | 2022.03.11 |

|
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|