敦煌莫高窟吐蕃后期经变画研究
发布时间：2018-11-15 10:20
【摘要】： 论文分为上、下两编。上编分析了敦煌莫高窟吐蕃窟的窟龛形制、壁画构成形式和题材特征,从其演变、发展的情况以及壁画的细部特征进行了考证,划分出821年以后兴建的吐蕃后期洞窟22个。821和822年唐蕃政权在长安城外和拉萨举行会盟,此次会盟事件给吐蕃统治下的敦煌带来了影响,蕃汉民族关系进入到相对融洽的阶段。吐蕃窟中因此而出现了画有吐蕃赞普和侍从像的维摩变,以及穿着吐蕃服饰的供养人,壁画中画五台山和峨嵋山道场的文殊变和普贤变、经变画中的胁侍菩萨新形象、包裹装饰纹样的建筑柱身等等因素都与蕃汉之间的文化交流往来的有密切关系,致使以汉传佛教艺术为主导的吐蕃后期洞窟壁画中,出现了新的绘画因素。论文下编专注于研究吐蕃后期具有突出时代特征的经变画,分章讨论了密教菩萨经变、金刚经变、报恩经变、维摩诘经变等经变题材,探讨了密教菩萨经变图像样式、金刚经变胁侍菩萨新样式的来源,吐蕃时期的密教菩萨信仰特点,经变中的故事画及其体现的信仰思想。密教菩萨、经变中的胁侍菩萨都有新的样式混杂在汉地传统的佛教造像样式之中,这些新因素都和吐蕃本土的艺术、吐蕃人的喜好有关。从净土经变的数量和其他经变题材的配置关系看,净土类经变始终是首先被选择进入洞窟的题材。从洞窟的设计原则和佛教信仰的层面看,吐蕃后期洞窟首先营造的还是一个佛国净土的世界,其次是将为唐蕃双方祈福,祈盼唐蕃通好,以及对唐朝的向往与思念等世俗的现实愿望隐含在壁画中,超越了佛教信仰这个简单的层面。
[Abstract]:The paper is divided into two parts: the first and the second. The above part analyzes the shape of the grotto niche, the form and subject matter of the murals in the Mogao Grottoes of Dunhuang, the evolution and development of the murals, and the detailed features of the murals. 22 late Tibetan grottoes built after 821 were divided into 22. 821 and 822 Tang Fan regime meetings held outside Changan City and Lhasa, which had an impact on Dunhuang under Tubo rule. Tibetan Han nationality relations entered a relatively harmonious stage. As a result of this, there appeared in the Tibetan Grottoes the Vimo change with Tibetan Zamup and attendant statues, as well as the providers in Tubo costumes, the Manjushi and Puxian changes in the wall paintings of Wutai Mountain and Emei Mountain, and the new image of the menacing Bodhisattva in the painting. The architectural columns wrapped in decorative patterns and other factors are closely related to the cultural exchanges between the Han and Tibetan Han dynasties, which led to the emergence of new painting factors in the murals of the later Tibetan grottoes dominated by the Han Buddhist art. The next part of the thesis is devoted to the study of metamorphosed paintings with prominent characteristics of the times in the later period of Tubo. In each chapter, we discuss the changing themes such as the change of Bodhisattva, the change of King Kong, the change of retribution, the change of Vimorakirti, and the image style of the change of Bodhisattva. The source of the new style of bodhisattva, the characteristics of Buddhist Bodhisattva belief in the Tubo period, the story painting in the changing period and the belief thought embodied in it. Buddhism Bodhisattva and the changing Bodhisattvas all have new styles mixed in the traditional Buddhist statues of the Han Dynasty. These new factors are related to the native art of Tubo and the preference of the Tubo people. From the relationship between the quantity of the change of the Pure Land and the distribution of other subject matter, the change of the Pure Land is always the first subject matter to be selected to enter the cave. From the aspects of the design principles of the grottoes and the Buddhist beliefs, the caves in the late Tubo period first created a world of the pure land of the Buddha country, and then prayed for the blessing of both sides of the Tang Dynasty, hoping that the Tang Dynasty would be well connected. As well as the yearning and yearning for Tang Dynasty, the secular realistic desire is hidden in the murals, which transcends the simple level of Buddhist belief.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J218.6;K879.4
本文编号：2333021
[Abstract]:The paper is divided into two parts: the first and the second. The above part analyzes the shape of the grotto niche, the form and subject matter of the murals in the Mogao Grottoes of Dunhuang, the evolution and development of the murals, and the detailed features of the murals. 22 late Tibetan grottoes built after 821 were divided into 22. 821 and 822 Tang Fan regime meetings held outside Changan City and Lhasa, which had an impact on Dunhuang under Tubo rule. Tibetan Han nationality relations entered a relatively harmonious stage. As a result of this, there appeared in the Tibetan Grottoes the Vimo change with Tibetan Zamup and attendant statues, as well as the providers in Tubo costumes, the Manjushi and Puxian changes in the wall paintings of Wutai Mountain and Emei Mountain, and the new image of the menacing Bodhisattva in the painting. The architectural columns wrapped in decorative patterns and other factors are closely related to the cultural exchanges between the Han and Tibetan Han dynasties, which led to the emergence of new painting factors in the murals of the later Tibetan grottoes dominated by the Han Buddhist art. The next part of the thesis is devoted to the study of metamorphosed paintings with prominent characteristics of the times in the later period of Tubo. In each chapter, we discuss the changing themes such as the change of Bodhisattva, the change of King Kong, the change of retribution, the change of Vimorakirti, and the image style of the change of Bodhisattva. The source of the new style of bodhisattva, the characteristics of Buddhist Bodhisattva belief in the Tubo period, the story painting in the changing period and the belief thought embodied in it. Buddhism Bodhisattva and the changing Bodhisattvas all have new styles mixed in the traditional Buddhist statues of the Han Dynasty. These new factors are related to the native art of Tubo and the preference of the Tubo people. From the relationship between the quantity of the change of the Pure Land and the distribution of other subject matter, the change of the Pure Land is always the first subject matter to be selected to enter the cave. From the aspects of the design principles of the grottoes and the Buddhist beliefs, the caves in the late Tubo period first created a world of the pure land of the Buddha country, and then prayed for the blessing of both sides of the Tang Dynasty, hoping that the Tang Dynasty would be well connected. As well as the yearning and yearning for Tang Dynasty, the secular realistic desire is hidden in the murals, which transcends the simple level of Buddhist belief.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J218.6;K879.4
【引证文献】
相关博士学位论文 前3条
1 王治;空间表达与寓意[D];中央美术学院;2011年
2 阮丽;敦煌石窟曼茶罗图像研究[D];中央美术学院;2012年
3 信佳敏;敦煌莫高窟唐代屏风画研究[D];中央美术学院;2013年
，本文编号：2333021
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