摘要
根据佛典的描述,鲜花供养是佛教诸多供养中最常见的形式。因而在敦煌壁画、纸画、绢画中描绘了大量的手持花卉图像。这些图像不仅以其集中而庞大的数量见证了佛教鲜花供养的情况,而且是学界全面认识持花造型演变及我国花卉画发展的主要资料。本文在对敦煌手持花卉图像进行分类,呈现各期造型变化的基础上,初步探讨了这些手持花卉图像的源流及其在我国花鸟画史上的地位。
According to Buddhist classics,offering of flowers is a type of offering that is one of the most common ones.Therefore,handheld flower patterns are frequent to see in Dunhuang frescoes,paper paintings,and silk paintings,which are enormous in quantity and concentrated in distribution.They are regarded as the witness of Buddhist offering of flowers and the primary materials for the academia to study the evolution of flower patterns and flower paintings in China.On the basis of the classification of Dunhuang handheld flower paintings and the various patterns from different time periods,this paper discusses the development of such hand-held flower paintings and their significance in China’s history of flower and bird painting.
作者
马莉
史忠平
Ma Li;Shi Zhongping
出处
《美术》
CSSCI
北大核心
2021年第1期113-118,共6页
Art Magazine
基金
2019年度国家社科基金艺术学项目“敦煌石窟花鸟画研究”(项目号:19BF092)
2019年度甘肃省社科规划项目“敦煌石窟花鸟画研究”(项目号:19YB032)
2018年度教育部人文社会科学研究一般项目“敦煌壁画佛教法器图像研究”(项目号:18YJCZH127)
2019年度甘肃省社科规划项目“莫高窟汉传佛教法器图像研究”(项目号:19YB031)的研究成果。
关键词
敦煌绘画
手持花卉
类型
Dunhuang frescos
hand-held flower
pattern
