摘要
敦煌艺术中的南朝因素历来为研究者所关注。本文通过对敦煌艺术中图像与历史文献对比,从传播者的角度重新审视敦煌艺术中南朝美术的来源问题。敦煌早期壁画受到河西地区的影响而多采用西域晕染法,并无南朝影响。南朝之风始自北魏中期的第251、257窟,西魏第249窟作为南朝风格持续进入的重要过渡,已经有了"秀骨清像"的韵致,至第285窟则形成了比较成熟的南朝样式,这种明显的变化表现出敦煌壁画中的南朝风格已被时人普遍接受。敦煌与南朝虽相距甚远,但存在巨大的民族认同和文化认同,故而形成了密切的关联。最后,文章分析了南朝艺术因素进入敦煌的媒介,在外交使者、求法僧、中原委派的官吏、儒生阶层的共同努力下,南朝艺术风格进入敦煌,并对后世敦煌壁画产生了深远的影响。
Southern Dynasties elements in Dunhuang art have always been an interest to researchers. Through a comparison of images from Dunhuang murals and historical documents,the current authors re-trace the origins of Southern Dynasties elements from the perspectives of communicators. The earliest Dunhuang murals show influences of the Hexi region,as can be exemplified in the Western Regions sfumato painting skills. Early southern style in Dunhuang murals begins in grottoes 251 and 257 that date to the mid Northern Wei dynasty. Grottoes 249 and 285 of the Western Wei dynasty show that by that period,southern style was maturing and became widely accepted in Dunhuang. Despite the great distance between Dunhuang and south China,shared ethnic and cultural identity brought the two regions close to each other. Diplomatic envoys,travelling monks,government officials from the Central Plains and Confucian scholars possibly contributed to introducing art from the Southern Dynasties to Dunhuang,which had profound influences on later Dunhuang murals.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2015年第10期86-93,共8页
Journal of National Museum of China
基金
2014国家重大招标项目"中印佛教美术源流研究"(项目编号:14ZDB058)的阶段性研究成果
关键词
敦煌
莫高窟
壁画
南朝
艺术交流
Dunhuang
Mogao Grottoes
mural
Southern Dynasties
art communication
