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The bibliographic record is provided by 李玉珉老師.
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敦煌石窟本生故事畫的形式─以睒子本生圖為中心=The forms of Jataka stories illustrated in Dunhuang Grottoes:Focusing on the illustrations to Samaka Jataka |
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| Author |
東山健吾
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.2 (總號=n.126) |
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| Date | 2011.04 |
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| Pages | 1 - 11 |
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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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| Keyword | 睒子本生; 本生故事; 故事畫; 連環畫 |
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| Abstract | 啖子本生圖盛行于北朝時期,莫高窟與西千佛洞保存著諸多圖例。啖子故事以孝道為主題與中國傳統倫理道德思想十分吻合,特別是北周至隋代十分流行。本文主要分析啖子本生圖,對其構圖形式,即橫幅多場景畫卷形式的展開與樣式上的發展進行探討;并與印度、犍陀羅、克孜爾及麥積山、云岡石窟的例證進行比較,詳細驗證敦煌壁畫中啖子本生的畫卷形式、連環畫形式及異時同圖法等,認為敦煌壁畫中的睒子本生并非漢代傳統形式的延續,而是在印度·犍陀羅的影響之下所形成的。
The illustration of Samaka Jataka,which mainly advocated the filial piety,was very consistent with traditional moral ideas of China,was popular in the Northern Dynasties,particularly in the period from the Northern Zhou to the Sui dynasties.Many examples have been preserved in Mogao Grottoes and the Western Caves of Thousand Buddhas.This article mainly studies illustrations of Samaka Jataka and discusses the development of the compositions,namely spread of the horizontal multi-scene painting and the evolvement of its forms.By comparing present examples in India,Gandhara,Kizil,Maijishan and Yungang Grottoes,and by investigating the scroll painting,story painting strip of Samaka Jataka in Dunhuang Murals and its representing methods of depicting episodes of different periods together in one painting,the author thinks that Samaka Jatakain Dunhuang Murals derived from Indian and Gandharan prototypes rather than traditional Han Dynasty ones. |
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| ISSN | 10004106 (P) |
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| Dynasty | 唐代 |
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| Regions | 甘肅(敦煌莫高窟); 印度(不詳) |
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| Hits | 337 |
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| Created date | 2016.05.12 |
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| Modified date | 2018.05.08 |
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