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雲岡石窟第三期洞窟圖像組合分析=Combinatorial Analysis of Images in the Third Period of the Yungang Grottoes |
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| Author |
王友奎 (著)=Wang, You-kui (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.3 (總號=n.181) |
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| Date | 2020 |
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| Pages | 48 - 62 |
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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：敦煌研究院編輯部；筑波大學藝術學系 |
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| Keyword | 云岡第三期洞窟=third period caves of Yungang; 圖像組合=image combination; 彌勒信仰=Maitrya belief; 法華經=Lotus Sūtra |
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| Abstract | 雲岡第三期洞窟均為中小型方形窟,可分為三壁三龕、側壁雙層龕、三壁多層多龕等形式。龕像配置更多采用橫向組合,重視對稱構圖。盡管圖像佈局富於變化,但第二期流行的法華與彌勒圖像仍為基本組合元素,其造像思想與第二期洞窟一脈相承。
Of the various periods of cave construction at Yungang, the caves of the third period consist of small and medium-sized caves made according to a square plan that could be divided into various forms, such as three niches on each of three walls, double niches in the side walls, or multiple niches with multiple tiers on each of the three walls. As for the configuration of images within the niches, the most common layout was a horizontally organized series with careful attention to symmetry. Although the layout of both images and niche distribution varied, it can be seen that images combining the thought of the Saddharmapundarika Sutra with the Maitreya belief popular at the time of the second period of cave construction remained the main elements of composition |
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| Table of contents | 一 第三期洞窟圖像佈局特徵 49
二 三壁三龕式洞窟圖像組合 49
（一）兩側壁龕內對置相同尊像 49
（二）兩側壁龕內配置不同尊像 52
三 正壁單層龕或雙層單龕、側壁雙層龕洞窟圖像組合 54
（一）A組洞窟 55
（二）B組洞窟 57
（三）C組洞窟 58
四 三壁多層多龕式洞窟圖像組合 58
五 中心柱窟圖像組合 59
六 小結 61 |
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| ISSN | 10004106 (P) |
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| Hits | 242 |
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| Created date | 2020.11.11 |
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| Modified date | 2020.11.11 |
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