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敦煌莫高窟唐前期第一期諸窟的特徵=Characteristics of the First Caves at the Mogao Grottoes of the Early Tang Dynasty |
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| 著者 |
八木春生 (著)=Yagi, Haruo (au.)
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著姚瑤 (著)=Yao, Yao (au.)
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.6 (總號=n.172) |
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| 出版年月日 | 2018 |
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| ページ | 1 - 9 |
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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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| ノート | 作者單位：筑波大學；東南大學藝術學院 |
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| キーワード | 莫高窟唐前期=Mogao caves from the early Tang dynasty; 第57窟=cave 57; 第322窟=cave 322 |
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| 抄録 | 唐首都長安及其附近的佛教藝術作品是考察唐前期(安史之亂前,755-763年)佛教藝術極為重要的對象。西安現存的武周時期(690-705年)及其之前的唐代作品極少。而與此同時,敦煌莫高窟中則保留了大量隋代至唐代的佛像及菩薩像。莫高窟初唐時期(唐前期第一期)的代表性窟第57窟和第322窟,雖然從隋第三期諸窟中繼承了諸多形式,但這兩窟也發生了一些變化。其中最大的變化是,南北壁開始描繪西方凈土或彌勒凈土等特定的凈土圖。此外,凈土圖中增加了往生的具體性描繪,同時塑像也獲得了前所未有的寫實感。唐前期第一期,特別是第322窟中所見的佛教造像的世俗化,無疑是中原地區(西安)佛教美術的如實反映。
The city of Chang’an, the capital of the Tang empire, and the Buddhist artwork from the surrounding area are important subjects for discussing the Buddhist art of the early Tang dynasty prior to the An Shi Rebellion from 755—763, a period far richer in material than that of the later reign of Empress Wu Zetian and the decades preceding her ascendance, an era from which very few works remain extant in Xi’an today.Meanwhile, a large number of images of the Buddha and bodhisattvas dating to the period between the Sui and Tang dynasties have been preserved in excellent condition in the Dunhuang Mogao Grottoes. Mogao caves 57 and 332, both exemplary of the style of the Early Tang(the first phase of the early Tang dynasty), inherited many elements from the caves of the third phase of the Sui dynasty, with a few small additions. The most obvious change in style is that certain pure land illustrations like the western pure land or Maitreya pure land would be painted on both side walls, and that furthermore, in these illustrations, scenes of being reborn were described in minute detail, the statues in the caves also being depicted with unprecedented realism. The secularization of Buddhist images in the first caves of the early Tang dynasty, especially those in cave 322, undoubtedly mirrored the Buddhist art of the Central Plains, of which Xi’an was undoubtedly a cultural leader. |
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| 目次 | 前言 2
一 第390窟、第244窟的樹下凈土圖 2
二 第57窟和第322窟的比較 3
三 第57窟和第322窟的營建思想 3
四 結論 9 |
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| ISSN | 10004106 (P) |
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| ヒット数 | 314 |
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| 作成日 | 2020.11.03 |
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| 更新日期 | 2020.11.03 |
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