摘要
1991年元旦前后,我们在复查克孜尔壁画图案过程中,对洞窟中最引人注目的各种菱格图案的形式,尤其是菱格画的分布内容与演变规律进行了全面而又详尽的调查与比较。同时,也产生了一些新的认识,本文试图将其产生、发展与演变过程作一探讨。一克孜尔石窟能全面整体地反映出菱格画的基本模式,多见于石窟建筑形制较典型的中心柱窟内。由于千百年来各种因素的破坏,几乎不存当年之风采。不过,我们现在可以通过不少洞窟的残存迹象加以相互参照,仍可窥其全貌。至于菱格画的基本分布与内容,前人已或多或少地介绍过,这里就我们所踏查的实际结果作些简要的补充,有些内容我们还在讨论中加以叙述。
The monographeson the birthplace of the Kizil rhombushaped paintings, from 1987 on, have been constantly published. In general, they contain three opinions, outside, locality and both outside and locality. The author thinks that the origin of the rhombus-shaped paintring of the Kizil Grottoes was from the Buddhist scriptures particularly from the form of the world discribed in Buddhist scriptures. The unique artistic form of painting was created to express the subject of 'Nine Mountains Eigt Seas'.The original scene of the rhombus-shaped paintings symbolized the papillar form of the mountain peak and we can find the basis from Buddhist scriptures. This paper will try to identify a connected Link between the papillar form and the rhombus-shaped painting, judying from the decorative pattern paintd in caves 14, 38,104 and 205 of the Kizil Grottoes. In addition, another subject represented in the rhombus-shaped painting is 'Qi Xiang Hai' (seven fragrant seas) It is fully expressed in the murals in caves 14, 7, 13, 38 and 175 of the Kizil Grattoes.
出处
《敦煌研究》
CSSCI
北大核心
1991年第4期26-31,121-122,共8页
Dunhuang Research
