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圖形「間」的排列、秩序 - 莫高窟第217窟經變青綠山水解析=The Arrangement and Order of the “Space” between Graphs - A Study on the Blue and Green Landscapes in the High Tang Sutra Illustrations in Mogao Cave 217 |
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著者 |
卓民 (著)=Zhuo Min (au.)
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掲載誌 |
敦煌研究=Dunhuang Research
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巻号 | n.1 (總號=n.167) |
出版年月日 | 2018 |
ページ | 30 - 38 |
出版者 | 敦煌研究編輯部 |
出版サイト |
http://www.dha.ac.cn/
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出版地 | 蘭州, 中國 [Lanzhou, China] |
資料の種類 | 期刊論文=Journal Article |
言語 | 中文=Chinese |
ノート | 作者單位:日本東京藝術大學大學院保存修復日本畫研究室非常勤講師,中國上海美術學院岩彩繪畫工作室主講教授, |
キーワード | 巖彩= mineral pigment painting; 青綠山水=green and blue landscape; “間”="blank"; 空間=space |
抄録 | 東方繪畫或者說中國繪畫,它的空間構造的由來始終是一個謎。固然,我們可以拿郭熙的"三遠法"來說話,而在這之前,首先是絹本支撐體與墨的微顆粒可以無障礙地將山形云霧用渲淡法隱沒于絹絲之中,空間演出得心應手。巖彩壁畫則不同,含材質顆粒的巖彩材料如此簡單地去制造想象空間的"余白"很難。但也恰恰是青綠山水的出現,使中國繪畫的空間構造得以完成。文章試圖對莫高窟第217窟經變故事畫背景中山水的解析,求證借佛教經變故事而產生的中國繪畫空間原創期形態樣式,講述一個由"間"即"留空"意識所產生的東方繪畫"平面繪畫中的空間構成"。如果"間"作為二維平面繪畫"空間構造"的基本語法,我們回頭再看畢加索、馬蒂斯繪畫,那將是別樣一般的風景。
The spatial structure of Chinese paintings has always been a riddle of oriental art. This question can certainly be discussed, as summarized by Guo Xi, in terms of the three main techniques showing different perspectives used in landscape paintings, but it is the physical medium of the silk canvas and the particles of the ink that make it possible to smoothly paint clouds and fog with a haloing effect. Murals painted with mineral pigments are thus entirely different, as it is very hard to create an imaginative open space using mineral pigments containing visible material particles. It was the appearance of landscape paintings that marked the completion of the spatial structure of Chinese paintings, a technique that researchers detect traces of in Buddhist cave murals.This paper examines the landscape background of the sutra illustrations and narrative paintings in Mogao cave217, tracing back to the original form and style of Chinese painting, and demonstrates that the "spatial structure of flat oriental painting" is produced by the ideas of "space" or "creating blanks." If the "blank" was regarded as the basic grammar of the spatial structure of two dimensional paintings, in fact, views of even Western painters such as Picasso and Matisse would be quite different. |
目次 | 引文 31 1.中國人的山水觀 31 2.中國山水畫的出現 31 3.青綠山水屬於中國岩彩繪畫範疇 32 (1) 岩彩色體含“質”的圖形內部 32 (2) 岩彩色體含“質”的圖形內部與周圍空間 32 (3) 非均質空間、色體密度不同的“虛實”概念 32 一 闊達廣袤———空間場景的設置 32 二 逶迤盤繞、色層疊加———山脈遞進的空間組構 34 1.圖形自身 34 2.圖形重疊之間 34 3.圖形重疊與時空轉換 35 三 近樹雙勾畫葉、遠樹只點樹形———不同空間物形的變形呈像 36 綜述:圖形之“間”、青綠山水空間語境構造 38 |
ISSN | 10004106 (P) |
ヒット数 | 124 |
作成日 | 2020.10.21 |
更新日期 | 2020.10.21 |
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