当書目の情報提供者は 李玉珉老師 です
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從莫高窟第3窟壁畫看中國畫線描的藝術成就=Artist Achievement of Chinese Line Drawing according to the Paintings of the Mogao Caves 3 |
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| 著者 |
李月伯
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.2 (總號=n.68) |
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| 出版年月日 | 2001.05 |
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| ページ | 36 - 41 |
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| 出版者 | 敦煌研究編輯部 |
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| 出版サイト |
http://www.dha.ac.cn/
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| 出版地 | 蘭州, 中國 [Lanzhou, China] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 第3窟壁畫; 中國畫線描; 白畫; 文人畫 |
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| 抄録 | 莫高窟第３窟的壁畫以線條為主的表現手法，有其顯見的特殊意義。特別是以泥沙做底的濕畫法，多年來成為人們研究探索并引起爭論的焦點。本文通過對元代社會歷史背景及敦煌地理位置，還有莫高窟特殊的自然環境，綜合研究、分析了第３窟壁畫的線描表達技法。
The Mogao Caves 3 was built in the You Dynasty in which besides an eleven-headed thousand armed and thousand-eyed Avalokitesvara there are a few other figures. Most of the figures have the images of China, some looking even like Taoist gods. The line drawing is skilful, with rich variations. Rounded, smooth and forceful iron-hard lines are used to sketch out the face and limbs and the body while folded-reel lines used for the heavy and thick pleats of the garments and broad top and thin end lines which can vary with their accents are clearly used to depict the lines of muscles of the warriors. Gossamer lines bring out the fluffy hair and beard. In order to depict the different lines to make the figures vivid and moving. Their techniques clearly Show the high degree of development in the art of the Yuan Dynasty. |
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| ISSN | 10004106 (P) |
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| 研究種類 | 石窟; 繪畫 |
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| 研究年代 | 元代 |
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| 研究地域 | 甘肅(敦煌莫高窟) |
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| ヒット数 | 221 |
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| 作成日 | 2016.05.12 |
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| 更新日期 | 2018.02.05 |
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