摘要
云冈石窟开凿于北魏时期,以石雕和彩绘壁画结合的手法营建,有着多样的艺术表现形式。由于受到自然和人为因素的影响,石雕表面的重层彩绘脱落、变色,呈现出错综复杂的面貌。前辈学者已对云冈石窟的彩绘有所研究,本文在其基础上,聚焦于北魏时期造像的彩绘背光,将造像背光分为四个区域,调查残存的彩绘遗迹,并与云冈石窟和丝绸之路上的石窟雕刻、壁画样式进行类比,给出判断彩绘时代的同期证据,以期揭示云冈石窟色彩原貌的丰富性。
The Yungang Grottoes were excavated in the Northern Wei Dynasty,and constructed by the combination of stone carving and mural painting,with various artistic forms.Due to the influence of both natural and human factors,the painting layers of the stone carvings had fallen off and discolored,showing a complex appearance.On the basis of previous studies on the color painting in Yungang Grottoes,this paper focuses on the color painting halo of Buddhism statues in the Northern Wei Dynasty.In this paper,the backlight of the statue is divided into four regions to investigate the color-painted remains,compared with the grotto carvings and mural painting styles on the Yungang and other grotto-relics along the Silk Roads,so as to give the chronological evidence for the color painting remains,as well as to reveal the colorful original of the Yungang Grottoes.
作者
高平传
石尚
GAO Ping-chuan;SHI Shang(Yungang Academy,Datong Shanxi,037007;School of Humanities,Central Academy of Fine Arts,Beijing,100105)
出处
《云冈研究》
2022年第3期79-96,共18页
Yungang Research
基金
山西省文物局2022年科技项目“云冈石窟造像色彩研究与复原”(2022KT19)
关键词
云冈石窟
北魏
石雕彩绘
背光
纹饰
Yungang Grottoes
the Northern Wei Dynasty
painting layers on stone carvings
halo of Buddhism statues
decorative pattern
