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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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印度花鳥嫁接式圖像及其在中國的新發展-紀念敦煌研究院成立七十週年=Indian Grafting Image of Birds and Flowers and Its Development in China——Commemorating the 70th Anniversary of Dunhuang Academy |
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| 著者 |
李靜傑
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.3 (總號=n.145) |
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| 出版年月日 | 2014.06 |
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| ページ | 92 - 117 |
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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 | 笈多王朝=Gupta dynasty; 花鳥; 裝飾紋樣 |
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| 抄録 | 花鳥嫁接式圖像,亦即鳥雀與花卉的混合造型,其藝術創意近乎極致,構建裝飾紋樣史上一座里程碑。這種圖像創始于印度笈多時代,后笈多時代與帕拉時代延續發展,波及古印度大部版圖。初唐時期印度花鳥嫁接式圖像傳入并迅速中國化,武周至盛唐時期風行一時,連綿至五代前后,唐兩京所在中原地區始終是中心發展區域。中國花鳥嫁接式圖像數量之眾、發展程度之高,又非印度所能及。
The grafting image of birds and flowers is a kind of hybrid pattern of birds and flowers, which displays excellent creativity and became a milestone in decorative pattern history. This pattern originated inthe Gupta dynasty, and continuedto develop in the post-Gupta and Pala periods, while spreading to most parts of India. This kind of image was introduced into China in the early Tang dynasty, and soon becameSinicized. It caught on from the period of rule of Empress Wu Zetian to the High Tang period, and it lasted until the Five Dynasties. However, it was mainly developed in the Central Plains, including the two capitals of the Tang dynasty. These kinds of images in China far surpassed its Indian prototype not only in number but also in achievements. |
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| ISSN | 10004106 (P) |
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| 研究種類 | 石窟; 繪畫; 裝飾圖案 |
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| 研究年代 | 唐代 |
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| 研究地域 | 甘肅(敦煌); 印度(不詳) |
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| ヒット数 | 379 |
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| 作成日 | 2016.05.12 |
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| 更新日期 | 2018.05.24 |
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