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敦煌隋代故事畫藝術=The Art of Sui Dynasty Narrative Paintings at Dunhuang |
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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.157) |
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| Date | 2016 |
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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
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| Keyword | 莫高窟=Mogao Grottoes; 隋朝=Sui dynasty; 故事畫=narrative painting; 經變畫=sutra illustration; 山水=landscape |
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| Abstract | 敦煌壁畫中的佛教故事畫北朝時已逐漸形成了長卷式畫面的表現方法，隋朝時表現更加細膩和豐富。同時，來自中原的繪畫風格大規模地影響到敦煌石窟，新型經變畫的產生就是重要的標誌，而隋代的經變畫仍有不少採用了長卷式畫面的表現手法，反映了本土藝術的厚重傳統。佛教經典的主題，由選取故事性內容以連續性長卷畫面表現，改變為綜合一部佛經的主題思想以大畫面構圖來表現佛國世界，這是佛教繪畫的一個巨大變革，隋代是這個變革的重要時期。文章通過對隋代莫高窟故事畫藝術的分析，來探討佛教繪畫樣式的變化。
The Buddhist narrative paintings in Dunhuang murals gradually developed a method of painting successive scenes in long strips, which became particularly exquisite and rich in the Sui dynasty. During the same period, the painting style from the Central Pains exerted a dominant influence on Dunhuang cave paintings, as characterized by the appearance of a style of sutra illustration new for the time. Many Sui dynasty sutra illustrations still adopted the use of long, successive strips, however, which reflects the lasting profundity of local art traditions. Previously, the themes of Buddhist sutras were represented by painting narrative scenes in long strips, but at this time the main ideas of the sutras were condensed into a single large picture that often symbolized Buddhist paradise. This was a dramatic turn for Buddhist painting, and the Sui dynasty became an important period for such innovation. This paper discusses these changes in painting styles by analyzing the art of Sui dynasty narrative paintings at Mogao. |
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| Table of contents | 一、長卷式故事畫的源流 2
二、隋朝初期的故事畫 3
三、隋朝中期的故事畫 4
四、從跡簡意淡到細密精緻 6
五、長卷式故事畫的終結 7 |
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| ISSN | 10004106 (P) |
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| Hits | 130 |
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| Created date | 2020.08.24 |
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| Modified date | 2020.08.24 |
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