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風格與樣式 - 中國佛教美術中四家樣說簡析=Styles and Patterns - A Preliminary Analysis of Four Artists’ Styles in Chinese Buddhist Art |
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| Author |
張總 (著)=Zhang, Zong (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.3 (總號=n.163) |
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| Date | 2017 |
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| Pages | 34 - 38 |
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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：中國社會科學院世界宗教研究所研究員 |
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| Contents note | 一 曹張吳週四家樣說 35
二 風格與樣式辨析 35
三 小結 38 |
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| Keyword | 風格=style; 樣式=pattern; 美術史=fine art history; 四家樣=four patterns or styles; 吳帶當風=Wu Daozi’s painting style; 曹衣出水=Cao Zhongda’s painting style; 水月觀音=Water-and-Moon Avalokitesvara |
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| Abstract | 本文是對中國佛教美術內風格與樣式之分析。唐張彥遠《歷代名畫記》提出了中國佛教美術的四家樣,影響甚巨。但是其中含有風格與樣式的區別。近現代人文科學中美術史與古代畫史等本質有所不同,使用的概念,范疇也都有不同。四家樣中吳道子的吳帶當風與曹仲達的曹衣出水是典型的風格,而由水月觀音代表的周家樣則是樣式。厘清如此問題對于古代佛教藝術史有著重要的意義。
A Record of Famous Paintings of the Past Dynasties by Tang dynasty painter Zhang Yanyuan believes that there are four Chinese Buddhist art styles respectively created by four famous painters that have proven particularly influential in the history of the art. The author of this paper notes, however, that there are significant differences between them in terms of patterns and styles. Fine art history in the modern humanities is different in nature from ancient art history since their concepts and categories are different. Among the four types mentioned above, the two exemplified by Wu Daozi and Cao Zhongda are representative styles both focusing on the description of the folds in clothes, whereas the third style of Zhou Fang, represented by paintings of the Water-and-Moon Avalokitesvara, focuses on patterns. To clarify such problems is of important significance for understanding ancient Buddhist art history. |
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| ISSN | 10004106 (P) |
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| Hits | 219 |
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| Created date | 2020.10.16 |
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| Modified date | 2020.10.16 |
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