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当書目の情報提供者は 李玉珉老師 です
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敦煌樂舞壁畫的形成分期和圖式=The Formation,Categorization and Scheme of Dunhuang Music and Dance Murals |
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| 著者 |
鄭汝中
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.4 (總號=n.54) |
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| 出版年月日 | 1997.11 |
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| ページ | 26 - 44 |
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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 | 樂舞 |
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| 抄録 | 敦煌樂舞壁畫的形成分期和圖式鄭汝中一、敦煌樂舞壁畫的形成敦煌壁畫的形成，學者論說甚多，有“東來”、“西來”、“本土”、“三合一”等說。本文只是探討敦煌壁畫中樂舞畫的形成和發展。雖然，它和東來、西來不無關系，但它有其自身的來龍去脈，有其獨特的文化內涵、...
In the Mogao Grottoes of Dunhuang,there are more than two hundred caves with murals concerned with music and dance.The author of the present paper thinks that the formation of the music and dance murals is decided by the four factors:①it is a result of the development of the Chinese traditional musical paintings.②There is a profound rational connotation.The main point is the combination of the Confucian musical ideology and Buddhism.③The music and dance murals are of the symbal character. ④The artists made use of artistic imagination and exaggeration to portray images of music and dance.The development of music and dance murals can be categorized as follows:early stage,midde stage,flourishing stage and late stage.Finally,the author points out that in Dunhuang murals,there are fourteen types of scheme illustrating the images of music and dance. |
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| ISSN | 10004106 (P) |
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| 研究年代 | 宋代 |
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| 研究地域 | 甘肅(敦煌莫高窟) |
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| ヒット数 | 267 |
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| 作成日 | 2016.05.12 |
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| 更新日期 | 2018.01.31 |
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